Screenwriter explains HIDDEN MEANING of The Godfather Dinner Scene

[@decodinghollywood8175]

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[@olliephelan]

This scene in the book is almost identical to DeNero in the Irishman. He kills in the diner (Joe Gallo) He explains that you need a certain gun (as clemenza does ; loud etc ) He says you should go to the toilet and come out blazing (what clemenza says to Mike). He says you might need the toilet because you dont want to be uncomfortable if you need to go. In the book Mike actually needs to crap because of nerves. He says you dont want to kill the bodyguard (no beef with him/just disable him). There was a bodyguard in the restaurant but he raised his hands after Mike pointed the gun at him. I think the Irishman based the Gallo scene on this (or rather the books description)

[@timconsidine6023]

You are incorrect. Michael did not attend the dinner to negotiate. He went there with the full commitment to kill Sollozzo. The assassination was Michael’s idea and his plan. The only way Sollozzo was not going to die that night would have been if he killed Michael first or if the gun had not been in the bathroom as planned. Thanks for finding the subtitles. I had not seen that before!

[@halfsourlizard9319]

Just rewatched the film: Can confirm.

[@cha5]

Yeah, Michael went in there with the express purpose of killing Sollozzo, It even mentions in the novel that during the meeting Michael feels certain that this proposed "Truce" would only last a day or two before Sollozzo would try to kill Vito again. I think that when Michael mentioned that he wanted a guarantee from Sollozzo that there would be no further attempts on his Father's life that it was just curiosity on Michael's part as to what his answer would be and when he made no assurance whatsoever that pretty much was Sollozo's death sentence. Although he would have killed him anyways, they had already arranged for Michael to be sent to Sicily and for Tessio to pick him up outside the restaurant right after the the hit and there was no turning back at this point from him killing Sollozzo and McKlusky. Interestingly in the novel it's pretty much established that Vito was wounded too badly to be transported back to the Corleone Family Mall Compound and he needed constant medical access which was why he had to stay in the hospital and was a sitting duck there which was a big reason why Sollozzo had to be killed before he had another chance to kill Vito.

[@decodinghollywood8175]

@@cha5 so what's his motivation in the scene?

[@WilliamMoore-p4g]

Also his "rookie mistake" of not letting the gun drop to the floor. He's walking away, only to realize that he still has it in his hand. It was as if it was "burning" in his hands. I could never decide it that was a "Michael Mistake" or a "Pachino Blooper" that F.C. decided to keep in.

[@decodinghollywood8175]

He didn’t follow Clemenza’s instructions, but I take that more as Michael choosing his own judgment (the cop and the Turk will both be more on guard the moment he comes out of the bathroom, so returning to the table and waiting a moment or two allows them to let their guards down- in other words, Michael not following Clemenza’s plan to the letter is actually probably safer for Michael) and perhaps also Michael is recognizing that going through with his plan is the true point of no return- up to this point he could still stay out of the mafia business (despite the hospital “I’m with you” scene) but once he kills a rival gangster and a cop, he’s in. That said, his intention when he shows up to the meeting isn’t to negotiate a peace with the Turk- it is to kill him, and anyone else he has to to secure his father’s safety. Remember in the scene where they plan this, Michael is the one who first suggests they can kill a cop and is the first to bring up the idea that they have to kill the Turk or Vito will never be safe. I think the delay is better explained by the idea that Michael is using his own judgment rather than following Clemenza’s plan to the letter, and it also shows that Michael, despite his planning the execution of the Turk, isn’t really yet the hardened gangster he ultimately becomes. At this point, he is just beginning his journey into becoming a tragic hero.

[@reneseuret6271]

You missed the sound of the train and Michael's eyes before making the decision to kill them both. The approaching train symbolizes his thoughts, that torment before committing an action with no coming back, the dramatic music finalizing the scene is telling that now he is also a criminal, not anymore the war hero, the respectable citizens that he was once. When Don Vito heard that it was Michael who killed Sollozzo and the cop, he was very upset as he never wanted that life for Michael, despite knowing that he was the only one capable of being a Don. Fredo, too weak and Santino with too much fire, unable to see beyond his anger. The Godfather is a Masterpiece, the book is even better.

[@decodinghollywood8175]

@@reneseuret6271 this is some of the best analysis in the comments! I love when people think through their analysis and dig deep! I hope you subscribe and stay part of the community! We need your thoughtful comments

[@garybono]

To me the train was an early illustration of Michael's cunning and ability to improvise. I think he heard the train early in his time at the restaurant then, after he has retrieved the gun, rather than shoot them right away, like he was advised, he waits until the train comes again so that it masks the sound of the gunshots.

[@busterbiloxi3833]

His analysis is bonkers.

[@decodinghollywood8175]

@@busterbiloxi3833in what way?

[@DeCurtaRican]

No decision. He has made that decision before ever getting into the car. I think the train motif symbolizes business as usual. The train is moving according to a schedule whether people want it to or not. Michael Corleone is resigned to killing Sollozzo and Chief McClutsky even though he doesn’t want to. He realizes that it’s just business…a necessary evil.

[@zulubeatz1]

One of the impressions I got from he whole Godfather saga is that the qualities and experience that made Vito rise to the top of his organization are not things that can be passed on to kids who have been brought up in a different set of circumstances.

[@petesaria-hf1xh]

Good observation.

[@rhino5100]

Yes, that's a good point. Michael is the only one who is really different as he is actually a war veteran. His brothers (and half-brother Tom who was on a college deferment) sat out the war and don't have what it takes. They can't see what's coming.

[@southwestsideandy]

Michael was a WW2 marine corps veteran. He saw more violence than a mafia member saw in a lifetime. At the wedding scene he had a silver star. He was an officer and was trained to understand strategy and how tactics helps accomplish strategy. He was much more dangerous than his father

[@shanejohns7901]

@@southwestsideandy I would imagine there's quite a few parallels between when two nations go to war and when two large/powerful families declare war on each other. Whatever distinctions I think we might have about national vs. family wars probably doesn't amount to a hill of beans to the people who find themselves in such situations, up close and personal. Michael's brother caused that assassination on his father, while his other brother fumbled with his gun as the assassins ran away -- without firing a shot. This is a world where you can't trust politicians or the police or even the judges -- because any of them could potentially be on the payroll. The politicians seem like they're fine with a little violence here and there, because they understand that it is sometimes necessary. But if that violence gets too high, or if their constituents are all complaining about drugs all over society with people dying from drugs, that political support dries up.

[@Pbadome1]

One interesting thing I'd like to add, which was not in this scene. When Michael went to the hospital to visit his father, and the place was empty, he called Sonny about it, in the meantime, Enzo the baker came in with flowers. Fast forward, Michael instructed Enzo to stand at the stairs with him when that car pulled up, and told him he'd be fine. Well, the car drove up, and Michael began to reach into his coat to make them believe that not only did he have a weapon, but that there may be many more people inside to protect his father. So, that's the set up and here's my point. Enzo couldn't light his cigarette because he was shaking, so Michael lit it for him. Michael closed the lighter and stared at it for a few moments. What I concluded was that Michael saw his own hands not trembling. This might not be as big as his first hit, but I think the character realized that he just wasn't able to be afraid, perhaps colder as we do see as the movie progresses.

[@decodinghollywood8175]

@@Pbadome1 definitely

[@MikeR773]

I believe Enzo’s actor was legitimately shaking because he had no acting experience and was very nervous, and Coppola decided to go with it.

[@decodinghollywood8175]

@@MikeR773 personally, I think it was in the direction. I'm the director's commentary, Coppola said that the decision was deliberate to show that Michael was cooler under pressure

[@MikeR773]

@@decodinghollywood8175 fair enough. I didn't watch that one. I can't remember now where I picked up that trivia, so it's possible it isn't true.

[@decodinghollywood8175]

@@MikeR773 thanks for being open. Welcome to the community! Hope up subscribe and enjoy future videos!

[@mlaprarie]

The character development of Michael is beautiful and brilliant. The college educated favorite son, whom the Don wanted out of the business. He enlists, angering his family (except for Fredo, who defended him) and comes back from the war a decorated veteran. We discover his mastery of the OODA loop (Observe, Orient, Decide and Act) when he defends his father while he is recovering from the assassination attempt. We see a darker turn here, when Michael figures out that Tatalaglia and Sollozzo still present an existential threat to members in the family. Only Michael can make the hit on Sollozzo because he is the only family member who is "clean." Michael's attempt to remain clean is truly ended in Sicily, with the murder of Appolonia. She was his first and deepest love, and losing her to a mob hit breaks Michael completely. After Michael becomes Don, his first act is to settle all "family business" thus ending the Barzini threat, the threat of Moe Green in Vegas, and avenging the death of Appolonia. By then he has become everything Vito hoped he would never be.

[@decodinghollywood8175]

Amazing insight! I hope you subscribe and join the community. We could use a voice like yours!

[@timconsidine6023]

Two great insights - OODA and the fact that the assassination of Appolonia sends him past the point of no return. This discussion is great as it is revealing to me even greater levels of brilliance of my favorite film,

[@Horifice]

Nicely put. You said a few things I tried to point out (clumsily, and without so much supporting evidence) later but before reading your comment. Now I’m embarrassed. Damn your eloquence!

[@ellenchavez2043]

"I never wanted this for you, Michael." - Don Corelone

[@RBAILEY57]

Al Pscino was a great actor, in a great role.

[@bulldawg7232]

Fact, Coppala really hid the gun where Al couldn't find it to make the scene more authentic

[@decodinghollywood8175]

@@bulldawg7232 great comment! Welcome to the community and hope you subscribe and see the next video!

[@bulldawg7232]

@@decodinghollywood8175 subscribed!

My name and his is Coppola, wrongly and infuriatingly pronounced in America as Cope-ola. It’s (roughly) pronounced Cop-pola. Still, a brilliant film and a superb director and cast. 😊

[@decodinghollywood8175]

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[@HardRockMaster7577]

@@mbryson2899 Puzo also told Sonny where to hide the sausage.

[@stevenediger7945]

According to Coppola, this was the scene that saved Al Pacino‘s participation in the movie. Pacino was on the verge of being fired until the studio executives saw the scene.

[@davidlean1060]

Pachino still wasn't sure he belonged in the film though. He tells a story about hurting his ankle as he jumps into the car after the shooting and thanking God for a genuine excuse to get the sack!

[@MrLemonbaby]

David Mamet said in every scene there are two people and the scene should answer three questions: What do they want?: Why now?: What happens if they don't get it?

[@decodinghollywood8175]

@@MrLemonbaby yes!

[@decodinghollywood8175]

@@MrLemonbaby thank you for understanding what I'm trying to break down here

[@rudolftrost3534]

Best Movie Ever!

[@borood1188]

The studio was going to shut this movie down until they saw the dailies of this scene. One of the best scenes in movie history. Pacino’s eye movement before he shoots them is a master stroke of acting. Great acting by Sterling Hayden also. That’s one of the realist reactions to getting shot point blank in the neck that you will ever see.

[@Music--ng8cd]

With his life experiences, Hayden had probably seen someone shot like that a time or two. His life is similar to Christopher Lee's.

[@borood1188]

@@Music--ng8cd In real life Hayden was a scumbag. He was a communist. But despite that he deserves credit for the great acting he did here.

[@Michael-k7r]

First of all the restaurant meeting wasn’t about any negotiations. Michael was there for the sole purpose of eliminating

[@ascensionbias7528]

See how he pointed to the oranges he wanted? People didn't paw all over the food back then at the markets. -even a Don. Respect

[@Music--ng8cd]

The Don died with an orange in his mouth and there were oranges at the big sit-down meeting of all the families. Coppola said it was just coincidence.

[@traditionalfood367]

At European markets one doesn't help oneself to the produce. Items are requested.

[@suleymanbabak1973]

​@@Music--ng8cdit is. The whole "oranges mean murder in the godfather" is complete bs.

[@vincentsaia6545]

You didn't take note of Sollozzo's reaction when Michael said he had to go to the bathroom. The twitching of the eye. Sollozzo instinctively knew something was amiss but couldn't put his finger on it and knew he would look silly if, say, he searched the bathroom before Michael went on.

[@decodinghollywood8175]

@@vincentsaia6545 great eye. Thank you so much

[@mrnatural1961]

I always loved that little twitch from Sollonzzo! Such great acting.

[@maryriley8077]

It was Michael's masterful handling of the beginning the meeting that saved the day. Yes, Solozzo's mistrustful eye twitch was evident. However, because Michael had conducted himself at the beginning as if he was there to actually negotiate and Solozzo thought Michael was naive and nervous, he allowed the 'bathroom pass' so as to continue discussions after because he really wanted a deal.

[@BrianMax]

Excellent analysis. I disagree on one small point: "This was Michael's first kill". Michael was a decorated Marine Corps officer in WWII. He's seen combat. He has killed and ordered other men to kill. Michael tells Kay at the wedding "That's my family, Kay. Not me" and he means it. He joine the Mairne Corps to leave the family life behind, but it put farther along the path to being the Godfather than he knows. His military experience prepared him to handle this mafia war. He goes to the hospital to see his father, and seeing that the police are on Solazzo's side, realizes that his brothers aren't prepared to deal with it, and he is the only one who can. Killing Solozzo and McCluskey was his Rubicon. Once he crossed that, there was no going back.

[@decodinghollywood8175]

@@BrianMax i get the distinction. I was mostly recording off the cuff, but I'll try to be more accurate in the future

[@billolsen4360]

I disagree. Michael joined the Marine Corps to fight the enemy. He already realized that Vito didn't want him to be in the organized crime life.

[@kingofthejungle3833]

I was thinking that, then I thought ole mate probably meant it was Michael's first unsanctioned kill, in legal terms.

[@jimbo92107]

@@billolsen4360 That was an implied irony in the movie. Michael joined the Marines to get away from the mafia, only to discover that governments wage wars that are even more savage than the violence of criminal organizations. Michael at some point realized that his life as a crime boss was small potatoes compared to wars between governments.

[@jrpipik]

Another key scene was Michael taking action at the hospital. He immediately senses something is wrong and takes decisive action. When He tells Vito, "I'm with you," he has taken his first step into the mob life. After that, he's committed.

[@decodinghollywood8175]

@@jrpipik great observation! Hope you subscribe and welcome to the community

[@rastalique8114]

Michael's actions at the hospital seem spot on for a Marine officer. Acess danger, formulate a plan and take action. His situational awareness was right in telling the baker to have hand in poctect to imply them being armed.

[@decodinghollywood8175]

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[@virginiaariaz4214]

I agree with you that at this point where Micheal decides he is in. Whether consciously or subconsciously that was the moment he was in. I truly think most people misunderstand Michael, because he has complete control over his emotions. Only when you look into his eyes you see what he is feeling or in the rare occasions when he has his out burst. In the scene with his father in the hospital only through his actions did you feel his urgency and need to save his father. And in the restaurant in his eyes only can you see his anger ,hate and frustration. But when they are discussing the hit you see that to him it truly is just business. It’s only when he realizes that his wife is about to die the you see any true emotion. So, it is my belief, that it was always Michael who could run the family business. The movie is brilliantly written, photographed and edited and directed. The actors were perfect it is one of the the best movies of all time. It was made over fifty years ago and it still stand the test of time.

[@maryc530]

But we’re we’re the guys Sonny sent with him? Why was he alone?

[@GerryTomchinsky]

All due respect, you couldn't be more wrong. That dinner wasn't a negotiation, it was a hit! In the scene the Don's den, Michael says "Solozzo HAS to kill pop, that's the key for him" Solozzo & McCluskey were history!

[@skineyemin4276]

These kids have never watched this or Part II. It's actually very mind numbing to me.

[@GerryTomchinsky]

@@skineyemin4276 It's actually kind of insulting to our intelligence. How can you make a video that's SO inaccurate and post it with total self confidence

[@decodinghollywood8175]

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[@sallabruno1035]

Thinking the same thing the entire time watching that scene. There was no debate in Michael’s mind. He went there specifically to kill them both.

[@decodinghollywood8175]

@@GerryTomchinsky I said that Michael's scene intention was to protect his father, and killing solozzo was the answer

[@Pbadome1]

One other thing. When he ordered the veal in English, he asked the waiter in Italian if he understood, and the waiter nodded. Sollozzo then understood that the waiter understood English, and impatiently waited for him to pour the wine and leave.

[@Horifice]

Seems to be pretty bad continuity that McCluskey is eating before the waiter has even left the table to pass the order to the kitchen.

[@Pbadome1]

@@Horifice If you watch in another video, a longer version, the waiter comes over with a salad and wine for the table, that's what he was eating before the veal came out.

[@aqualady0]

​@Pbadome1 you are making me hungry

[@decodinghollywood8175]

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[@anthonydolan3740]

Tom Hagen could never inherit. He's not a blood relative and he's not a Sicilian.

[@decodinghollywood8175]

@@anthonydolan3740 good point, but at times, he leads by default

[@donaldcarpenter5328]

Only Sonny was going to inherit, the Don set up the confrontation in order to see how well Sonny handled himself. Obviously him getting hit was NOT in the "plan". Sonny wouldn't have lost to Tatallia but Barzini was a different matter. Sonny was a "bad" Don, ONLY his father could say it out loud though we KNOW that's how Tom felt. Ironically, Tom could NEVER believe Michael was EVERY bit his father's son and that led to tension between the two.

[@mrnice7570]

" your going to be the don when I'm gone tom"- Michael Corleone GF2

[@billolsen4360]

@@donaldcarpenter5328 But, that another thing wrong with the story. Mafia dons rarely have their sons inherit. They build wealth knowing that the average life of a made man is short & dangerous, and push their sons in another direction.

[@HardRockMaster7577]

@@mrnice7570 If Michael had somehow had been taken out, then Tom would (still) be the Don.

[@danmcn61]

Paulie didn't tell Michael to kill Sollazzo right away. Paulie was already dead. It was Clemenza who told Michael to "come out blasting" and to kill Sollazzo and McCluskey right away.

[@decodinghollywood8175]

@@danmcn61 yes, my mistake. I misspoke, our I got confused with Goodfellas

[@danmcn61]

@@decodinghollywood8175 Too many Paulies

[@decodinghollywood8175]

@@danmcn61 True! I also recorded it from memory not realizing it was going to blow up and everyone was going to mention it haha. I have to be better in my future videos. What other movies should I analyze? Or is there any show from my career that I should talk about?

[@johnwhelihan1693]

​@@decodinghollywood8175Cool Hand Luke has many biblical references

[@decodinghollywood8175]

@@johnwhelihan1693 I'll have to rewatch it. What are they?

[@borood1188]

The funny thing is Duvall is playing Brando’s adopted son, but in real life Duval was only 5 years younger than Brando

[@NameRequiredSoHere]

I love Pacino in that restaurant scene. No dialog, but it conveys so much with demeanor and facial expression. "Am I gonna really do this?.... Yes, I am.... but I'm scared... When should I do it?... Let him keep talking while I think..." He was also waiting for the train to cover the noise of the gun shots. That must have occurred to him as he left the restroom, which is why he didn't come out blasting as he he was told. Then... total commitment. No doubts. No turning back. Just brilliant acting and directing.

[@DeCurtaRican]

“…in your pocket like so many nickels and dimes…” That line is how Don Corleone later figured out Barzini’s role in the hits on the Don and Sonny. Barzini uses a similar phrase when a newly recovered Don Corleone attends a summit between the five families to negotiate Michael’s safe return to the states.

[@MikeR773]

I’ve never heard Barzini use that phrase in that meeting.

[@davemccombs]

He objectively does not

[@DeCurtaRican]

@@davemccombs : You are incorrect. Barzini gives Vito an ultimatum, threatening him to share his connections or face being a foe. Don Corleone sniffs this out as the nexus between Solozzo’s main request and the attacks because Barzini mentions the political protection at the summit. Watch the Don Corleone-Solozzo meeting scene and then watch the summit scene again and you’ll understand. Tataglia explicitly mentions the judges and politicians that Don Corleone has in his pockets. Barzini not only explicitly mentions the judges and politicians in Corleone’s pockets, he implores Don Corleone to share them. “You must allow us to draw the water from the well.” Knowing what he knows about the two men’s tactical abilities, Corleone puts it together that Tataglia has asked Barzini to use his muscle to force Don Cirlrone into sharing. But make no mistake about it, Barzini explicitly orders Don Corleone to share his political connections to stop the bloodshed. It’s a threat.

[@DeCurtaRican]

@@MikeR773 : You are wrong. Barzini gives Vito an ultimatum, threatening him to share his connections or face being a foe. Barzini exhibits a kind of jealousy toward Don Corleone. He’s furious that Don Corleone can operate with a level of freedom that he cannot, and that the political protection could allow Don Corleone to break any of the other families at his whim. They worry that the playing field is not level. So they tey two tactics to bait Don Corleone neither of which he takes: (1) lure him into the drug business so that he is viewed as being as “dirty” as the other families, and (2) coax or threaten him into sharing his political connections. Don Corleone sniffs this out as the nexus between Solozzo’s main request and the ensuing attacks because Barzini later mentions the political protection at the summit. Review the scene. Barzini sends Don Corleone another veiled threat at the summit: share your wealth, i.e., “allow us to draw from the (political) well” or face more death and destruction.

[@DeCurtaRican]

@@MikeR773 : You should have read my original post more closely. I never said Barzini uses that exact phrase. I said he uses similar language, and he does. Tataglia explicitly mentions the judges and politicians that Don Corleone has in his pockets. Barzini not only mentions the judges and politicians in Corleone’s pocket but implores Don Corleone to share them. They’re tag-teaming at the summit. Knowing what he knows about the two men’s tactical abilities, he puts it together that Tataglia has asked Barzini to use his muscle to force Don Corleone into sharing. But make no mistake about it, Barzini explicitly Don Corleone to share his political connections. It’s a veiled threat. Btw, when critiquing movies, novels, or plays, always use present tense! It’s standard practice.

[@cesarantoniotaboadaolvera741]

You mean ´´Clemenza´´ told Michael to ´´start shooting´´, as soon as he came out of the bathroom. Paulie had been executed already. You know when the scene of ´´Leave the gun take the canoli´´.

[@decodinghollywood8175]

@@cesarantoniotaboadaolvera741 yes, I must have misspoke

[@busterbiloxi3833]

He was an interior decorator.

[@Pbadome1]

@@busterbiloxi3833 And Russian

[@edsedlak6827]

That line is one of my favorite lines ever, and funny too, in a serious movie.

[@decodinghollywood8175]

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[@RogerArthur-z2v]

Don Corleone rule #1.never let anyone know what you are saying thinking

[@lastpme]

I think the flaw with doing the hit on the Godfather, Sonny would not go into business with Sollozzo. That would show the family loved money more than father and his kids worship him. Also the hit on the Chief of Police should not had caused a war between the family. With the Chief of Police having dinner with a drug dealer would show corruption or extremely bad judgment. Plus, Michael even stated they could use their papers to highlight the Chief of Police compromised situation

[@decodinghollywood8175]

@@lastpme definitely. We know Sonny was loyal, but solozzo didn't. He was testing that theory

[@Gomoboo]

A police Captain is not the Chief of Police. Probably in charge of a precinct.

[@toddstroger9505]

The war was because Sonny wasn't having it. His father had been shot in the street. Sonny is emotional but a good fighter. Also he isn't giving the other families what they wanted.

[@tahoemike5828]

They hid Chekhov's gun in the can, and dedicated a whole scene to it, Michael was never not going to shoot them.

[@decodinghollywood8175]

thank you! hope you subscribe and enjoy future videos

[@hejimony]

Props for Chekhov's gun.

[@albertcampbell4189]

Doesn’t anyone notice Coppola’s shout out to Alfred Hitchcock in Vito’s shooting scene? The trumpet playing scales heard throughout the neighborhood, is almost identical to a scene in “Rear Window”. Check it out, yeh. Bonus film history points for me!⭐️⭐️⭐️ Michelin aficionado ❤️‍🔥👍🏽🍀

[@decodinghollywood8175]

love that! maybe I'll do some analysis of Hitchcock soon

[@petesaria-hf1xh]

Moot point.

[@CP-pe9ul]

I read somewhere that this restaurant scene was the very first scene of the movie which was shot. The studio was not too keen on hiring a relatively "unknown" Al Pacino. FFC shot this scene and presented it and was able to sell it to the studio head(s).

[@haroldbridges515]

This is the scene where I learned that directors can edit a movie after its theatrical release and before it goes to DVD. In the original release of "Godfather" there were several additional scenes in the restaurant. Just after arriving Michael notices a hoodlum leaning against the wall, whom he realizes is one of Salozzo's men. Then, after shooting the cop and with the gun still in hamd he looks over again to the hoodlum who tosses his own gun on the floor and raises both hands in a "no contest" gesture, after which Michael leaves. In the current version we can barely see what looks to be the same guy now sitting at the other end of the dining room. After the shooting we see him very briefly standing with his hands in the "no contest" gesture. So, a small point. Probably Coppola or the editor thought the deleted scenes slowed down the scene and that the audience would not find it odd that Salozzo went to the meet without backup. I have never seen anyone comment on these post-release edits.

[@timconsidine6023]

Wow. Thanks for sharing that. I'll have to check it out!

[@decodinghollywood8175]

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[@billolsen4360]

Sollozzo's driver would have been Sollozzo's main bodyguard. Wonder what happened to him.

[@HardRockMaster7577]

@@billolsen4360 Right, where he as Michael's car pulled up???

[@williampasternak1623]

Michael knew what he had to do. He needed to save his dad. The only way to do it was to do what he did. There was no negotiation. He said it “that’s it!”

[@jeffgolladay5813]

One if the greatest movie scenes ever

[@decodinghollywood8175]

@@jeffgolladay5813 agreed! Hope you are subscribed and welcome to the community

[@decodinghollywood8175]

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[@michaelkuzemchak-r7l]

So, as a fellow screenwriter, I didn't agree with some of your points at start (notice I didn't say you were wrong, much is opinion) so I said "immgoinf to wait and see what he says about Sonny's outburst and you nailed it; if an inexperienced Sonny didn't jump I'm and say " waitaminute, you're saying the D'Tallias guarantee....." we'd habe no story as you pointed out, it waa the EXPERIENCED Sollatzo who recognized this and thought to kill POP and Junior will eventually cool off. He even says it in the trailer after kidnapping Tom " Sonny was hot for my idea, and you knew it was the right thing" good call, my friend

[@decodinghollywood8175]

@@michaelkuzemchak-r7l thank you very much! I get that it is a controversial scene, but this is just my opinion

[@Inzo42]

Even tho Sollazzo says they’re speaking Italian, they are actually speaking Sicilian.

[@billhull6842]

In that like 10 part making of the Godfather mini series that was released a couple of months ago they said that Francis Ford Copolla had the gun planted like 12" more to the left and didn't tell Micheal (Al Pacino) that they moved the position of the gun so he would have to stop and try to find the gun in the bathroom.

[@drhenning53]

The Offer came out 2 years or so ago on Paramount Plus.. A must watch with Miles Teller playing Al Ruddy... I didn't know Teller much before I saw this but then he became a superstar by being in the Top Gun Sequel... Before I watched it, I never knew the problems they had getting Pacino approved..

[@kateschlesinger506]

Al Pacinos hand gesture when he gets the guns down is like a prayer position. A most subtle actor

[@CasperLCat]

Al Lettieri never gets enough credit for playing Sollozzo so brilliantly. Watch the annoyance on his face (9:55) as the waiter takes time to open the wine, showing Sollozzo’s own stress and precoccupation with the importance of this meeting. He DID fail to kill Vito, after all, and now he has to talk the Corleones out of taking their revenge on HIM.

[@Pbadome1]

I am subscribed now, good job, good breakdown. Couple of "off the cuff" remarks. I'm Sicilian, my father took the family to see this in the theater, I was 12 years old. I also read the book around that age which fills in some gaps but then the movie would have been twice as long. One writing flaw in this scene is when Michael asks Virgil Sollozzo to guarantee his father's safety and he replied, "what guarantees can I give you kid, I'm the hunted one". However, in the car ride to the restaurant, Mike says, "I don't want my father bothered anymore", and Sollozzo says, "He won't be Mike, I swear on my children". A minor misstep in a great script. Finally, a bit of trivia. James Caan was eating the "prop" peanuts and it pissed off Marlon Brando. Also, that scene with Michael searching for the gun, was actually real, because in rehearsal it was planted somewhere else on the back and lower, he actually had to find it during this shoot because it was planted somewhere higher and off to the left. The Godfather movie, as you know and can agree, is a masterpiece which I would say can be taken apart line by line for the perfection that it was.

[@markgillis6356]

The inconsistencies between Sollozzo's assurance to Michael in the car and his refusal to give a guarantee at dinner is not a flaw in the writing. Sollozzo is a snake and a liar. He lulls Michael at first, then thinks he can bully him. This was a grave miscalculation

[@Pbadome1]

@@markgillis6356 I don't necessarily disagree with you, however, after Michael said, in the car, "I don't want my father bothered anymore", the next line, if any from Sollozzo should have been, "that's what we'll talk about". He was already a hostage in the car. Oh, and by the way, after Mike asked to go to the bathroom, Sollozzo checked him again, then as Mike walked away, McCluskey said, "I frisked him, I frisked a thousand young punks", which is opposition to his fake apology in the car. Just another small detail that made this movie a masterpiece. It showed that McCluskey had zero respect for Michael.

[@waynej2608]

Why did Brando get pissed off about Caan eating the peanuts? I mean, I thought that Brando was a method actor and thus would approve of this.

[@Pbadome1]

@@waynej2608 Well, Brando is eccentric, so much so that Coppola told Paramount Pictures who didn't want him because he's trouble, that he would do the role for free, do a screen test, and sign a waiver if the filming goes overtime because of him. As for the peanut story, that's a classic. Jimmy Caan grabbed a nut that he couldn't open and Brando was trying to do a serious scene and felt that Caan upstaged him. But, according to Jimmy Caan, when the shoot was done, Brando starting laughing like crazy.

[@decodinghollywood8175]

That's some great insight. It adds even more nuisance to the discussion. That means that the book was changed to have Solozzo say that the Don could still be targeted. Thank you so much!

[@johnhoover3345]

One of the greatest movies of all time. I believe Michael took the opportunity from the noise of the train to help distract the atmosphere in the restaurant. He's the one who came up with the plan to begin with ("They're gonna kill Pop, it's the key for them") and he was simply placating Sollozzo and making him comfortable and at ease before pulling the gun. Michael knew Sollozzo was never gonna give his assurance that Vito's life wasn't ever going to be in danger again so he knew what he had to do. And I think they didn't add subtitles to the original release because viewers could follow along with the Italian being spoken and could understand the gist of the conversation. Thanks for this.

[@billolsen4360]

Yeah, Sollozzo called the meeting with Mike there specifically.

[@348Tobico]

You can read the emotions and intent from the faces as well as the music. The train sound while Michael is about to exit the bathroom and when he is deciding to shoot both make clear the onrush of thoughts fizzing thru his mind. Michael was not afraid to kill because he had done so in the war. He understands that shooting on American soil will cost him his home and family. The adrenal rush in his mind and body is reflected in the rushing confusion of train noise and Michael becomes a don when he masters himself and does what he knows must be done.

[@maryannstout7600]

Very nice summary.

[@maryannstout7600]

I have never seen this movie, watching this masterclass about it has piqued my interest. I’m going to watch it now. Thanks.

[@bunnydimples1283]

@@maryannstout7600😳😲

[@Axemantitan]

The novel translates the dinner conversation into English. It also explains the backgrounds and motivations of the characters very well. Lastly, the young Vito (Robert DeNiro) scenes that pushed to the second movie are in the novel.

[@Axemantitan]

Also, the novel explains how Michael was able to return to America. A petty criminal was paid by the Family to confess to the murders.

[@maryferreira141]

Thank you for this opportunity to understand this great film. Also, I appreciate the clarity you use in your comments. I am a reader, the audience the artist needs.

[@dongordon9378]

The captain is such a powerful man, that even shot in the brain he tries to get up and finally collapses in a powerful heap.

[@thewolfdoctor761]

Even after being shot in the head the captain was thinking, "I thought I frisked that young punk."

[@davidjohnson1654]

The INTENSITY of Al Pacino's look/stare/glare!..... oh wow.... What world-class acting!

[@QuitTheBlueCircus]

This is your best video yet. The algorithm recommended it to me today and I like your commentary. You're at 1.77K subscribers today ( 9/28/2024) and this video has had 114K views in 1 month. It's your breakout video. Keep going!

[@decodinghollywood8175]

Thank you so much! I hope you are subscribed and you follow my journey!

[@QuitTheBlueCircus]

@@decodinghollywood8175 I subscribed and will follow. Good quality video x a lot of them and you'll get to where you want to be.

[@eggman7527]

And immediately after the reprimand of Santino (and the flowers), Don Vito contacts Luca, his hitman--because he realizes he has no choice but to take out Solozzo before Solozzo takes him out.

[@LePédantSémantique]

You’re isolating this dinner scene while ignoring everything that happened leading up to it. Michael had no intention of negotiating & had decided the outcome long before this while speaking with Tom & Sonny. Thus why he went through all of the training & planning with Clemenza before this restaurant meeting was scheduled.

[@pasha21k]

ha, didn't read yours till after i posted mine, i completely agree, it was Michael's intention all along.

[@LePédantSémantique]

@@pasha21k Exactly! In fact, he came up with the idea & had to convince his brothers.

[@pasha21k]

@@LePédantSémantique He knew he'd hafta leave the country so he did. I LOVE that series, even 3

[@markuswx1322]

You’re right; I’ve heard this silly argument about other films, 2001 for example, where HAL is supposed to have planned to kill the crew all along. In that case the critics waited until A. C. Clarke and the director were both dead before proposing it. Another thing that irritates me is the assumption that there are no accidents in art, that the whole thing was master planned and every detail of every scene was just one more example of the director’s genius, and how the whole plot reflected some kind of deeper reality. Nonsense. Scenes are set to achieve a single dramatic effect. If Michael tosses the gun away instead of letting it slip unobtrusively from his hand and it does not denigrate that effect, it is left in the scene. That restaurant scene omitted what would have negated the desired effect: Where was Solazzo’s bodyguard, that lug of a driver? Did he not hear the gunshots inside and go in to protect his boss? No. The scene required an almost empty cafe and no protective goon. As long as we’re on the subject of decoding Coppolla’s brilliance, let’s begin by saying that the film is almost perfect. The directing. The acting. The score. The lighting. All of it. The weakness? The plot. Imagine demanding a million (1940s !) dollars for your new criminal enterprise, from a rival don and trying to kill him if he doesn’t give it to you! The mob never worked that way and it doesn’t make sense. Mario Puzo was a mediocre writer of potboilers. It was Coppolla’s film that gave him any class he had.

[@LePédantSémantique]

@@markuswx1322 What a great response! 👏 👏 👏 👏 👏 👏 👏 👏

[@carolyn64]

Godfather is one of those movies that can be watched multiple times and you can find some new detail and enjoyment every time!

[@Griegg]

It was Clemenza who told Michael to start shooting immediately when he got the gun, not Paulie. Paulie was Vito's bodyguard, who had kept calling in sick so that Solozo's men could catch Vito vulnerable to assassination.

[@decodinghollywood8175]

@@Griegg yes, I misspoke

[@donaldbarclay9866]

Nice analysis. The restaurant scene shows how smart and strategic Michael is. He is a decorated combat veteran of WWII, so he knows something about killing without getting himself killed. It's not stated, but McClusky is certainly armed, and it's hard to imagine Solozo isn't. These are a couple of dangerous men, not clueless civilians. When he is at the sink in the restroom, Michael hears the elevated train rumbling by. When he goes back out, he sits down and waits for the next train because the noise will both cover the sounds of his shots and be a bit of a distraction to his intended victims. The fact that Michael is always thinking two steps ahead and always thinks strategically is part of his character.

[@AmishEcstasy]

Captain McCluskey was eating the best veal in the city though

[@decodinghollywood8175]

yeah, tough break

[@amanpretbasuita2725]

He got that veal before the wine was even poured, always found that odd.

[@ysgol3]

At least he managed to eat some of it. I hope the best veal chef didn't resign because of the trauma of blood and bits of brain ending up in his lovely veal.

[@markgillis6356]

So he had a great last meal, even though it was cut a little short

[@waynej2608]

I bet that meal was awesome. NYC always had the best veal!

[@ahopkins1978]

“I’m not that clever” was a very revealing line to me.

[@TenThumbsProductions]

Don Corleone isn’t honorable, he is pragmatic. He literally says he doesn’t care what men do to make money, but he doesn’t like the danger.

[@melodymakermark]

@TenThumbsProductions, I believe he prefaced the comment with “comparatively” or some such.

[@mollybolton8425]

That's just his BS excuse; he couldn't possibly have meant that (even if it were true), because he knew that if the other families got into the drug business (dangerous or otherwise) and made it, they could easily wipe out the Corelones eventually. Vito's actual reasons for turning down Solozzo was because he didn't trust Barzini (allied w/the Tattaglias) to uphold their end of the bargain, as articulated by Solozzo

[@flux1968]

@@mollybolton8425That makes sense. I think he shared Sonny's trepidation but didn't want Solazzo to see that. After all, Solazzo wasn't open about working with the Tattaglias, so he clearly had things to hide from the Corleones.

[@decodinghollywood8175]

Check out my next video on Pulp Fiction here: kzbin.info/www/bejne/fWS4h3WwnJl0fK8

[@SaintKines]

He did call it a "dirty" business and he was saying this to a very blunt and obviously money driven man who he was turning down. Not to mention Sonny had slipped up in front of him. We can't know his true feelings obviously but I think he was definitely morally conflicted.

[@coldspirit9904]

sonny almost signed his fathers death warrant by speaking out....that made solosso think that with vito out the way...sonny would come to terms...in which...i dont know...if you killed my father...how would we be cool to do business after that?

[@daveverplank]

Thank you for showing those subtitles.

[@decodinghollywood8175]

@@daveverplank glad to liked the video. Hope you subscribe and join the community!

[@jondstewart]

I’ve just now realized Michael didn’t follow Clemenza’s orders to the letter. If he did, he would have shot the Captain and Solozzo right after he exited the restroom with two shots in the head apiece, then dropped the gun immediately afterwards. Instead he was nervous as hell, hesitated, shot Solozzo once in the head, shot the Captain in the throat accidentally the first time, then in the head, walked away with the gun for a short time, then dropped it.

[@donaldcarpenter5328]

Michael was covered by someone at a table to his left who wasn't there when he went into the head. After shooting Sollozzo and McCluskey Michael wheeled around and the guy placed his hands on the table and shook his head "no". Michael wheeled back dropped the gun and went out the door. The driver of Sollozzo's car was already DEAD (Tessio)

It's a long time since I read the book but I believe Michael shoots McCluskey in the throat deliberately, as revenge, and lets him suffer very briefly before finishing the job.

[@billolsen4360]

@@donaldcarpenter5328 Often wondered where the driver was.

[@michaell874]

The only true problem I have with this scene is that up to that point, Michael was just a civilian, and should have never been requested by Solozzo or anybody else to have taken part in such a meeting.

[@toddstroger9505]

Micheal had been brought into the action through the hospital

[@michaell874]

@@toddstroger9505 That was just him being the son of Vito. Once again, he was a civilian who should have never have been punched by MCClusky. In fact, McClusky should have been whacked for that incident by Solozzo it Barzini because Michael was still just a civilian.

[@davegratz5895]

The police captain re-arranged Michael's face as a non civilian. That would be grounds for Michael to be in the meeting.

[@kikim6116]

Michael was the only one who could have baited Solozzo. Solozzo should have known there was no hope in negotiating. Anything less from the Corleone Family would have signaled irredeemable weakness.

[@michaell874]

@@kikim6116 It was Solozzo who requested the meeting with Michael, even though everyone was aware at that time that Michael was just a civilian. Why didn’t he request a sit down with Sonny in front of some of the other heads? Or why did he not choose Tom? Or Tessio? Or even Clemenza? Or even Fredo, at that point?

[@Frankie5Angels150]

Anyone else notice the Jake LaMotta fight sign in the window when Vito is buying the “oranges that are omens of violence”? Also Solozzo’s “best in the city” comment before his death was used in homage by Tony Soprano in his final scene.

[@edsedlak6827]

This whole movie is a masterpiece. I try to watch it at least once a year.

[@decodinghollywood8175]

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[@JeffJacquesmd]

Same. I watch it with my sons.

[@IUgirl8099]

You forgot Solozo is also scared for his life,for the failed assassination attempt

[@MarcIverson]

The squealing of the train wheels on their tracks as Michael gets more and more simply wound up on the one hand and the more and more committed to vengeance and becoming a multiple murderer and entering the family business that he confesses to Kaye he despises ....is edge-of-your-seat psychological drama taken to an unbearable extreme only resolvable in a violent catharsis. The only scene I can compare it to in my long life of movie viewing is Robert DeNiro's driving to his "out" in Heat slowly churning over in his mind, with virtuoso facial expressions, whether he shouldn't just risk it all and gain vengeance against Waingro in Heat, an absolute master class in acting showing a person somehow lured by their own worst self into changing their mind regardless of the cost. His grim-faced yet suddenly almost joyous change of heart back to his original nature, instantaneously veering back into the grimly bitter and steely determination, when turning the steering wheel to his doom you're crying out for him to avoid, to go with the wonderful girl, to stick to his lifelong well-earned solid plan, could have been written in a chapter of words but, like Michael's scene when he is picking out his life's future as the train's wheels screech insanely against their tracks, it was all eyes and expression, subtle tensions fighting against each other until it was all too late to stop.

[@decodinghollywood8175]

thank you! hope you subscribe and enjoy future videos

[@dangl650]

When parts 1 & 2 were broadcast as a 5 part mini series in chronological order the dinner scene had subtitles

[@decodinghollywood8175]

thank you! hope you subscribe and enjoy future videos

[@DonRamiro1]

1) They're not speaking Italian in the film but rather Sicilian 2) The meeting scene where Sollozzo says "my compliments" was him keeping Tom on the wrong trail. Sollozzo working with the Tattaglias was meant to throw off the Corleone family. Sollozzo was really in cahoots with Barzini. Tattaglia as the red herring. 3) It's already been noted but bears repeating. It wasn't Paulie but rather Fat Clemenza.

[@decodinghollywood8175]

Yes, I misspoke on the last part. I was probably thinking about Goodfellas

[@padraig0703]

Yes, that could explain why Michael grilled Carlo about who approached him, even after he gave the order to kill Barzini. Michael is extremely smart and didn't want to be outsmarted.

[@padraig0703]

@@decodinghollywood8175 good videos. We all know and love these movies so well i knew what you meant. Look forward to your other vids.

[@decodinghollywood8175]

@@padraig0703 thank you so much! Welcome to the community. So happy to have you, and I really appreciate your positive comments

[@nickditoro]

Thanks for pointing out that they were speaking in dialect and not in Italian.

[@davebarrowcliffe1289]

They don't make films like this any more...

[@jondstewart]

This was a great scene, but if you’ve put the puzzle together and seen it in its entirety, killing Solozzo and the police Captain didn’t solve anything and kept the war going. Don Barzini was the mastermind behind the whole scheme. Tom Hagen failed to realize it initially and thought Tattalgia was the protector of Solozzo and even at the meeting when Barzini was sitting at the head of the table and doing most of the talking and talking about negotiations, he still failed to realize. Vito would have still been screwed in the long run if he went along with Solozzo’s plan for a drug trade. But at the meeting, Don Corleone swore he would never seek revenge on the death of his son. And he didn’t. He played his chess piece right! Instead, Michael told him in a deleted scene when they’re having a conversation at the end that he’d do it himself.

[@decodinghollywood8175]

@@jondstewart great insight! I hope you subscribe and keep giving great feedback on the videos!

[@mrgerrytube]

Love the train sound signifying Michael’s mental turmoil once he has the gun. Simple storytelling device but so effective

[@markgillis6356]

Sorry, but I disagree with a key point. Michael was NOT going there to negotiate. He wasn't weighing whether to kill the Turk. Michael never waffles about anything. That decision had already been made (when he first proposed it and everyone laughed at him, he stated clearly and unequivocally that he didn't trust deals, that Sollozzo intended to kill the Don, so it was absolutely necessary to kill them first). His conversation with the Turk was an effort to fake him out, to make him believe that Michael was meekly asking for terms of surrender. That lulled Sollozzo just enough to allow Michael to shoot them both dead. Your proposed interpretation makes the scene dramatic for different reasons, but IMHO it is NOT the correct interpretation.

[@decodinghollywood8175]

I think this was the "refusal to the call" in the hero's journey that is otherwise absent, but I am open to other interpretations. What do you think the scene was about?

[@timconsidine6023]

BOOM! You nailed it. Thank you

[@decodinghollywood8175]

@@timconsidine6023 that's fine. It's a common objection at this point. In the book, solozzo guarantees the Don's safety which is different from the movie. I think this scene is about Michael coming to terms with his decision in a way that he hadn't in other scenes, which is why he hesitates and doesn't follow Clemenza's instructions. But what do you think this scene is about in subtext? What's the conflict? Stakes? And why does Michael get so mad when solozzo can't guarantee Vito's safety?

[@joshuaridgway3230]

@@decodinghollywood8175 Not every story has to follow the heroes journey.

[@decodinghollywood8175]

@@joshuaridgway3230 sure, but I believe that this is the story of a good person who goes bad, which means that he would be coming to terms with the action at some point. this is the first time we see any resistance to the idea that he's going to do the hit

[@Evcomojo]

He’s not “trying to get out of it without killing Sollozzo” as you say. He’s fully committed to killing Sollozzo. He’s just taking a moment/maintaining his composure before he goes out there to shoot 2 guys in the head. But besides that comment you made, it’s very good content. Thank you for posting.

[@DeCurtaRican]

Do people I understand that there’s no “might have to take action” and no “decision to be made?” Michael knew he was going to delete them both the whole time.

[@billolsen4360]

100% correct!

[@shuroom57]

I always wondered what happened to Solozzo's driver, "Lou", who had made that nifty U-turn in the Holland Tunnel. What, did he just hear all the shooting, slink down in his seat and say, "F that 💩, I'm just the driver, dudes."?

[@markuswx1322]

Absolutely. The scene was set for a nearly empty restaurant and no goon of a bodyguard for the Turk. It didn’t really have to make sense. I suppose they could have had him driving around the block looking for a parking space. This is Art, Hollywood style. I am sometimes impatient with ‘Film School’ discussions like this in which it is assumed the screenwriter is such a genius that it all makes sense even when it doesn’t.

[@miketaylorID1]

Always wondered if Fredo was crying over his father presumably being dead or dying. Or was he crying at his own incompetence and weakness

[@decodinghollywood8175]

It's art so it's open to interpretation, but that's an interesting thought. He was probably overwhelmed

[@decodinghollywood8175]

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[@burtmann3921]

he's too frail so its both. great observation

[@miketaylorID1]

@@burtmann3921 🙏🏼

[@burtmann3921]

@@miketaylorID1 😉👍

[@wbshappy1]

Thanks for the subtitles I always wondered, and my home grown translation was correct!

[@mattcarlucci]

It wouldn’t be his “first kill”. don’t forget, he’s recently back from war. It would just be his first murder.

[@decodinghollywood8175]

@@mattcarlucci true

[@halfsourlizard9319]

Government-sanctioned murder is still murder.

[@josephpadula2283]

He was a combat decorated Marine Officer . He had probably already killed before with government sanction . In this case he was acting on justifiable homicide as a civilian . What would the penalty be then for hiring a hit ? Same as an actual murder . So the penalty he gave was the same as the government would have after a trial . Also the mob title are military , a made man is Soldier . So in this case he was authorized by his mob chain of command to do this .

[@mattcarlucci]

@@josephpadula2283 No way McClusky would have gotten the death penalty for being a corrupt cop in the late 40s NY. And killing a man without due process is still murder.

[@josephpadula2283]

@@mattcarlucci In our value system , not theirs .

[@CODYj423]

These clips highlight how the restaurant scene contrasts with the attempted hit on Vito. Salazo was sloppy, several shots, and didn't kill Vito. Michael has his turning point moment and this is his entrance into the criminal world. It shows his ruthless efficiency, precision, and results that we see all through his reign. In that way, foreshadowing the montage where he "cleans house" and kills several enemies, all over the map, in coordinated strategic hits. It is consistent with what we see in his character in various scenarios. Cunning, patient, decisive, and thorough.

[@maryp9222]

I always wondered if Sonny knew his outburst at his father's meeting was the reason for his father's (attempted) assassination.🤔

[@decodinghollywood8175]

@@maryp9222 glad it was helpful!

[@timverba4830]

Vito Corleone saying no to Sollozzo was the reason. Sollozzo was always going to push Vito out of the way if he said no. Sonny simply gave him the justification, that the old Don was not keeping up with the times. He was dead weight that needed to be discarded.

[@decodinghollywood8175]

@@timverba4830 it was the fact that Solozzo knew that people in the family would work with him if it weren't for the Don, and he needed political protection

[@timconsidine6023]

My sense is that Sonny lacked the depth necessary to recognize that causal connection. That's just my gut feel.

[@decodinghollywood8175]

Check out my next video on Pulp Fiction here: kzbin.info/www/bejne/fWS4h3WwnJl0fK8

[@mcfalcia]

Great Analysis of this scene. Watched this movie a million times but I somewhat missed this deep cut. Thanks!

[@decodinghollywood8175]

@@mcfalcia glad you liked it!

[@MrTL3wis]

Don Corleone knows if the family starts dealing drugs that Sonny will be taking them. Above everything, he's trying to keep his family in one piece, so he avoids the deal.

[@romulanwang]

No, he isn't trying to think if he can get out of it, he is coming to terms with it and preparing himself to not give himself away. When the train is going by he has just zoned out, and is becoming detached to allow himself to go through with it.

[@Horifice]

Nice analysis. It had never occurred to me that Sonny’s outburst is the initiator of Solozzo’s assassination attempt, on Vito, but I suppose it makes sense: is it that Sonny, the heir, has only the objection about Tattaglia involvement, so he could still be persuaded, whereas Solozzo can’t do anything about Vito’s objections about losing the influence of politicians if they get into narcotics. So Soolzzo’s solution is to replace Vito with Sonny? However, i agree with some of the comments below, that! Michael has already determined that he would kill both men. Michael discusses things with Solozzo just to get the gun and choose his moment. The “Italian” being spoken is a mixture of formal Italian and Sicilan dialect (a subset of Neapolitan; the family of dialects spoken in southern Italy and Sicily). The translation is a bit off, but the sense is there. Amusing that Solozzo refers to “questi/chisti cazzati”, literally “these cockeries”, the equivalent of “all this stupid fucking around”, i.e., the recent trouble. A nice related italian verb (from “cazzo”, cock) is”cazzeggiare”, literally to dick about.

[@decodinghollywood8175]

@@Horifice I recognize that Michael made the decision earlier on in the movie, but I'm just waiting on someone to tell me what the scene is about and why it takes so long. He made such a supposedly strong decision in the hagen scene out of protection of his father, but I feel like this scene takes a long time because it's about him finally descending into the family after he resisted it for so long. If his mind was made up fully, the topic of his father's safety would have never come up because it's a source of conflict. I'm trying to analyze what's beneath the surface because so often in great literature, what people are saying is not what they mean (which is what everyone is saying about the dinner scene), but I am saying it about the Hagen scene Who knows. Coppola is active on social media. He could come out and say I'm wrong. But he also made a deliberate change from the book where solozzo guarantees Vito's safety

[@Horifice]

@@decodinghollywood8175 The scene is long and significant simply because, as you suggest, it’s Michael’s descent into first-hand criminality. What he tells Kay in the wedding scene after relating the Johnnie Fontaine story (something like “that’s my family; it’s not me”) is no longer true. This is the major turning point for the character. The length and the dialogue keep us in suspense (Will he do it? When? Will he succeed?) Besides, logically, Solozzo can’t proceed while Vito lives (and therefore still running the family), so Michael must know that Solozzo, encouraged all the more by his impression of Sonny, will keep trying. Michael speaks of Vito’s safety to play for time, and because Michael raising the subject is a plausible reason to both Solozzo and McCluskey for the meeting. Michael’s looks of anger are understandable while he’s faced with two men who have tried to engineer his father’s killing. Solozzo is a ruthless drug dealer, clever with a knife, and McCluskey is a bent copper (who thumped Michael most dishonourably)-two characters despicable enough to Michael, the decorated serviceman who, up until now, could have been considered (and perhaps considered himself) an upstanding citizen.

[@decodinghollywood8175]

@@Horifice Yes, I think the suspense is justified because it's a huge character moment for him. obviously, it's open to interpretation, but even killing Solozzo is a way to protect his father

[@decodinghollywood8175]

Check out my next video on Pulp Fiction here: kzbin.info/www/bejne/fWS4h3WwnJl0fK8

[@michaelmiller5616]

Solozzo played the first meeting perfectly. Complimented Tom on finding out something that he already wanted Tom to know. Now, if the Don had said, “What’s in it for Barzini?” then Solozzo’s jaw would have dropped.

[@j-mac7401]

The countless of times I watched this film - this scene is so freakin good and there is one thing about it I always ponder. Micheal first pops Salozzo in the head making it quick and precise like a well trained soldier. He does this just a foot or two right in front of McClusky who happens to be the Chief of NYPD. McClusky is also a dirty cop who has sided with other rival families and also the man who broke Micheals jaw a few weeks prior. In my opinion, Micheal takes out Salazzo first and for a second pauses just enough for McClusky to not only witness the crime but also feel helpless for not having the means to stop the crime - even though he is known as the guy fighting crime for many years. Next, Micheal shoots McClusky but not a head shot but in McClusky's throat - creating pain and having to experience it like Micheal did with his broking jaw. Lastly Micheal makes sure he is the last face McClusky will ever see by Micheal finishing his mission by a single shot to the Chief Mc's noggin then off to Sicily for a year or 2....

[@franktreppiedi2208]

Mc Clusky was a captain, not a chief.

[@eileenhwalsh]

The sound of the train filling Michaels head with static and angst was so overpowering to me. I could feel his dread and adrenaline.

[@larky368]

There is a major flaw in Vito's portrayal. Early on it is pointed out that when he made a reasonable (even generous) offer to the band leader that he expects him to go along. To refuse is to become his enemy. He made him an offer he dare not refuse. So why didn't he realize that the other families would consider Vito their enemy when he refused to help the Turk start his drug scheme?

[@decodinghollywood8175]

He didn't realize Solozzo was making an offer Vito couldn't refuse

[@ysgol3]

I think the 'refusal' scene is meant to convey that if the Corleones had been united against the drugs plan Salozzo would have had to leave them alone and think up another plan. But Sonny disastrously messed up.

[@Joey_Keys]

He may have realized this. Even in the brief clips here, Vito seems not sure what to do, though he knows he doesn’t want to be involved with narcotics. I think his hesitation can be explained by him knowing that saying no to Sollozzo could bring some major heat from the other families.

[@thomasmallen5803]

When some newbie watches this movie in full they might wonder what the hell you were talking about. You think Al Pachino was trying to express second thoughts about killing the guys who put a hit out on his father when he was walking out of the bathroom? He was collecting himself so to make sure these guys were going to die. Sunny would have come out guns blazing, but Michael is Sunny and Tom and Vito all in one. That was the meaning of the pause before the bathroom door flashing back to Vito killing the Mob boss when he was younger. Also, you left out the scene before where Michael says "I'll do it"...that was the pinnacle scene, not this one.

[@robertlevinson9188]

I really feel bad the James Caan got killed SO early on.

[@decodinghollywood8175]

@@robertlevinson9188 I do too

[@busterbiloxi3833]

That’s why you should always be on your guard at a tollbooth.

[@jrpipik]

And if Robert Deniro had played Sonny, like Coppola wanted, he wouldn't have been around for Godfather 2!

[@BenjaminScherrey]

From the book and the movie there was no outcome where Michael wasn't going to kill Sollozo and McCluskey. The conversation was only for the setup and possibly to gain some intel. This was a hit from the beginning and their only real opportunity to ensure those responsible for the attack on Vito Corleon would be taken out.

[@nessy9022]

Mario Puzo never gets enough credit

[@ExiledAndBanished]

when you say around 15 to 16 minutes that this is mikes first kill.. although it isn't directly stated i don't think that's true. hes explicitly stated to be a war hero in ww2. hes probably killed a lot more people than we are ever shown. first kill in the mob? yes.

[@decodinghollywood8175]

@@ExiledAndBanished true

[@padraig0703]

Yes, but in war its killed or be killed. Then you go home. When you're committing a homicide, they give you the chair. Still, his war experience is why he can kill, unlike Fredo.

[@DarrenMonroePolitics]

OK, a few points you missed your first of all SUNNY was always tag to be the Donn never Tom because he wasn’t Italian Secondly, it was always the plan to take out those two it was never a negotiation Last everybody misses this, but the reason he took his time pulling the trigger was to wait until the train came by to cover up the sound of the gun You did a great job pointing out the nuances of Tom opening his mouth. I never really thought about that scene and how much it connect to the Godfather being shot.

[@jp-nq5wd]

Solazzo could have promised Michael whatever he asked for, it would have made no difference. Solazzo and Capt. McClusky were going to get whacked...period!

[@decodinghollywood8175]

@@jp-nq5wd we don't know that necessarily. Tom was against the killing in the first place. It started a huge war. And if what you're saying is true, then what was the point of the scene? It would have no stakes or character development

[@jp-nq5wd]

@@decodinghollywood8175 go back to the scene where they are all planning this dinner between Michael, Solazzo and McClusky. Michael even mentioned that they have people on the payroll in the the newspaper to bring up how dirty McClusky is (after he's killed). Sonny even teases Michael that killing them isn't like in the war where it's done from a mile away. Clemenza schooled Michael on how to use a gun in the basement and what to do after he whacked them. There was no peaceful way this was going to end. It was a done deal. But you have your opinion, so we'll just have to disagree.

[@decodinghollywood8175]

@@jp-nq5wd it's a surprisingly controversial scene and a lot of people have said the same thing as you. I wonder what the movie looks like if he doesn't kill solozzo, but if he was dead set on killing them, why did he ask them for a guarantee that his father was safe?

[@jp-nq5wd]

I think he said that to Sollozo just to decoy him into thinking this was just a dinner to try and work things out. If only Sollozo knew Michael’s bags were packed and he would soon be on a flight to Sicily!

[@decodinghollywood8175]

@@jp-nq5wd I'll rewatch it, especially with the director's commentary. Obviously, everyone is open to their own interpretation

[@salerio4876]

12:30 In real-life, a boss like Sollozo would have had some of his gunmen sitting at those empty tables all around them for his protection. And one of them would have followed Mike into the john.

[@sylviaross5722]

Yeah, no kidding.

[@bomagosh1252]

And what happened to the car and driver who got them there? He'd be parked in front and he'd shoot the guy walking out the front door if he heard shots. Clemenza would anticipate that.

[@salerio4876]

​@@bomagosh1252 I miss Clemenza in Part 2. "No, that weren't no heart attack." Cicci.

[@chloemchll3774]

Also, as a point of order- Michael goes to the restaurant intending to kill the Turk and his blue bodyguard. It isn’t a question of whether Michael can make a deal with the Turk- he knows he can’t (even Tom acknowledges that the Turk won’t stop until Vito is dead because that’s a key to getting what he wants from the Corleone, and Sonny wouldn’t dream of making peace with the man responsible for the attempt on his father’s life regardless of what Michael might theoretically negotiate out of the meeting.) Michael goes there knowing he is going to kill the Turk, and the delay isn’t about his trying to find another way out of it, but rather him making peace with what he knows he went there to do, as well as trying to pick the perfect moment to do it when their guard is down.

[@decodinghollywood8175]

@@chloemchll3774 I think if he had made up his mind, he would have followed the plan. Making peace is part of the indecisiveness

[@chloemchll3774]

@@decodinghollywood8175 True that he didn’t follow Clemenza’s instructions, but I take that more as Michael choosing his own judgment (the cop and the Turk will both be more on guard the moment he comes out of the bathroom, so returning to the table and waiting a moment or two allows them to let their guards down- in other words, Michael not following Clemenza’s plan to the letter is actually probably safer for Michael) and perhaps also Michael is recognizing that going through with his plan is the true point of no return- up to this point he could still stay out of the mafia business (despite the hospital “I’m with you” scene) but once he kills a rival gangster and a cop, he’s in. That said, his intention when he shows up to the meeting isn’t to negotiate a peace with the Turk- it is to kill him, and anyone else he has to to secure his father’s safety. Remember in the scene where they plan this, Michael is the one who first suggests they can kill a cop and is the first to bring up the idea that they have to kill the Turk or Vito will never be safe. I think the delay is better explained by the idea that Michael is using his own judgment rather than following Clemenza’s plan to the letter, and it also shows that Michael, despite his planning the execution of the Turk, isn’t really yet the hardened gangster he ultimately becomes. At this point, he is just beginning his journey into becoming a tragic hero.

[@decodinghollywood8175]

@@chloemchll3774 100%. Thank you so much for your thoughtful comments.. It's actually been a point of major controversy, and the video is just my opinion, but I think the arc of Michael is going from military hero to a person who kills his own family for the sake of the rest of his family and the depiction is of a man who goes from good to evil. Therefore, I feel like his hesitation is an important character moment. Also, even though they premeditated the killing, Michael doesn't go along with the plan, which shows that he still wants to exert whatever agency he has. His turn in the earlier scene comes very quickly, so this is a moment of thoughtfulness from Michael that ultimately leads to an all out war

[@chloemchll3774]

@@decodinghollywood8175 I agree about the arc, but think Michael is further along in the transformation by this scene. I think somewhere between the scene at the hospital when Michael saves Vito and the scene back at the Corleone mansion where the hit against the cop and the Turk is planned, Michael changes. As for the hesitance after he comes back from the bathroom, I think that is more meant to show that Michael trusts his own judgment over Clemenza’s instructions. Michael knows how on edge the Turk is, so he wants to act as casual as possible. Also, right as Michael is going into the bathroom, we hear what sounds like an elevated subway passing by the restaurant, and Michael ends up waiting for the next train to come through to shoot, which I see as him trying to use the extra split second of confusion the extra noise creates. While I could accept the idea that Michael shows up to that meeting and could be talked out of the murders if he hears exactly what he needs to, he already has heard enough before going to the bathroom (in particular, when the Turk responds to Michael’s demand for his father’s safety by playing the victim and referring to himself as the hunted) to know he has to go through with it. But, I’ll happily agree that part of what makes this movie so good is the fact that we can both find evidence to support our interpretation of where Michael is on his descent, as this demonstrates just how complex a character Michael is.

[@mphrdldn]

Michael may have wanted to listen a little longer to Solozzo to glean more information and insight.

[@NitavTrueDreams22]

Thank you, like this breakdown of the Italian, you kind of figured it for yourself. At this point, Mike ain't having it. The cop broke his jaw because Mike exposed him. Mr. Pacino played these scenes so amazing. You could feel he's changed now. 🙌🏽💙

[@redblackandgreen]

I've always loved the symbol of the noise of the train sound.

[@decodinghollywood8175]

Check out my next video on Pulp Fiction here: kzbin.info/www/bejne/fWS4h3WwnJl0fK8

[@borood1188]

That is not an accurate translation in Italian. Some of the wording is different and brings different context. Sollozo doesn’t admit to shooting Vito. He is vague about it.

[@docbearmb]

How do you come up with the assumption that Michael is going to decide whether or not to kill Sollozzq and the Capt.? He said when he was together with Sonny, Tom and the two capos that the Turk was going to keep trying to get rid of Vito; "it's the key..." He fully intended to kill them both and made that crystal clear. And as to hesitance about shooting them, because it was his first, Please! He did plenty of killing in the Pacific. A Marine doesn't get awarded the Navy Cross for sitting at a desk. He's been in life and death combat!

[@decodinghollywood8175]

@@docbearmb because otherwise the scene doesn't have stakes. If he had already made up his mind, he wouldn't have asked for a guarantee that his father was safe

[@timverba4830]

​@@decodinghollywood8175- We must give Mario Puzo and Francis Ford Coppola great applause for developing a work of art that continues to be discussed and argued after fifty years. I think Michael intended to kill both Sollozzo and McCloskey. I also think when Sollozzo could not give a guarantee that the attempts on Vito's life would stop, Michael realized that he was not talking to the true decision maker. After he returned from the bathroom, Michael sat back down against the advice of Clemenza and Sonny. Why? 1) He did not have a good shot to kill both from the distance immediately outside of the bathroom; 2) Michael wanted to get more information from Sollozzo to see if the true decision maker was the Tattaglia Family or someone else. The rage (the train) finally got to Michael while Sollozzo was just babbling on stalling for time.

[@Intunewithtmill]

According to THE BOOK he went there deliberately to kill both of them he wasnt looking for a compromise.

[@decodinghollywood8175]

@@docbearmb that's the whole point of the scene. If his mind was already made up, he would have held his intent much better. He would have said, "I'll work with you, Solozzo" and then shot him without hesitation. Telling Solozzo that he wants his father's safety is a risk if he already knows what he wants

[@decodinghollywood8175]

@@timverba4830 my feeling is that if he had already made up his mind, he would have played more coy. He would have said, "I'm going to work with you, Solozzo" to put his enemies at ease. Saying that he wants his father's safety is a risk and puts him in conflict

[@terricreed5465]

You should have watched the scene in the study where Michael plans the hit and says he will do it. No negotiating!

[@unc1589]

This was never a real negotiation. Nothing salatzo could say would’ve changed Mikes mind. You had mentioned “he knows he might have to take action” as if this wasn’t a planned hit. Otherwise great commentary.

[@decodinghollywood8175]

@@unc1589 Thanks for the feedback. My question is that if his mind was already made up, why did he present a conflict with solozzo by saying he wanted his father's safety? Why didn't he play coy or tell solozzo that he agreed with solozzo? That would have been more cunning and would not have brought on conflict

[@markfilipas1763]

@@decodinghollywood8175 I think it's clear that Michael feigned a possible openness to detente so as to slightly soften any suspicion or antagonism on Solozzo's part during the discussion. It fed into Solozzo's hopes as to how the meeting should go. If Mike, whose father had nearly died at this man's hand, had pretended that he didn't hold some shred of resentment and distrust, it would have come off as an obvious fake play.

[@idx1941]

@@decodinghollywood8175 you're trying to justify your flawed comment. Michael was always going to kill both of them. THAT was the plan! He and Sonny, et al were not discussing various options based upon how the meeting might go.

[@decodinghollywood8175]

@@idx1941 that was the plan, but there were hitches in the plan. I'm trying to explain why he didn't come out shooting immediately like Clemenza told him to. I think it's a character moment. If people disagree, that's fine, but I see this as a story about a good person going bad and that'd the tragedy. If he's already primed for a hit, then that story is less strong. Since Michael had no hesitation in the scenes with Hagen, Sonny, and Clemenza, this was the first time he showed hesitation

[@idx1941]

@@decodinghollywood8175 most times the simple answer is the best. Coppola is making a movie. He's bringing tension into the scene. Now do you think that Michael coming out blasting would've made a better scene? Would we be talking about that scene 50 years later? No! There is a reason you're doing a youtube video and not winning Oscar's! Now sit down!

[@LookBothWaysTwice]

Thank you for this! So well done.

[@SufferersKeepOnJammin]

I asked an Italian in Bologna, Italy (I was teaching him English). I played it and asked what was said here. He said "it's not Italian, it is a Sicilian dialect."

[@decodinghollywood8175]

@@SufferersKeepOnJammin it's a common objection. I understand. I took solozzo's word for it

[@SufferersKeepOnJammin]

@@decodinghollywood8175 but Solozzo is a Turk though, he's not a paisan (like us!)

[@cha5]

@@SufferersKeepOnJammin He was called “The Turk” because of the time he spent in Turkey and because he had a Turkish wife and children. He was however Sicilian.

[@SufferersKeepOnJammin]

@@cha5 thanks, appreciate that.

[@Whookieee]

I really love the build up of the approaching train as we see Michael gearing up to shoot

[@lawrenceel5321]

Good review. I see your argument that Michael was not 100% sure he was going to the meeting specifically to kill Sollozzo. But with everything else that happened before (re: Sonny telling Michael he'd get a message to Kaye when he "thought the time was right", Clemenza saying "You get a nice long vacation and the rest of us fight a war," etc) I believe he did attend with the express intention of hitting Sollozzo because "Pop's the key. That's it." Michael knew that without taking this chance to stop the Sollozzo/Tattalia plan that Virgil and the Tattalias would then press on and eventually (10 years?) destroy the family. I don't think there was ever a question in Michael's mind that he was going to kill Sollozzo and by necessity McClusky And as to hesitating at the door on exiting the bathroom... I always thought the excuse was that Michael was a Marine, he knew how to kill and he was just sizing up what was now *his* environment, calming himself, calmly walking to his seat. MOST importantly though because the instructions from Clemenza ("Come out with gun blasting, drop the gun, don't look at anyone but if they look at you, you don't look away..." had been so stressed, it was so expected by the audience that we flipped out thinking "WHAT are you doing??? Shoot already!" It was a theatrical technique, designed to create tension and I knew when I first saw it in the theater in 1972 that I was being manipulated by Copolla (OK, in a good way). Then those zoom-ins to tight shots... then suddenly, BANG (bye bye Sollozzo - this was a business hit) and then... one shot to McClusky's throat, waiting a second to watch him suffer then one to the head (this was a vengeance hit for breaking Michael's jaw) Then when leaving he remembers "Oh yeah, drop the gun" was kind of a pressure release after all the time spent telling him to "drop the gun". I do like your logic because you got me thinking. I look forward to seeing more of your videos :) Saluti !! Lawrence

[@decodinghollywood8175]

@@lawrenceel5321 thanks so much for being open. I'm so glad you're in the community! This is one of the best comments on the whole thread. I think he was very sure going in, but his dialogue indicated that he was not sure to kill solozzo in the moment, and when solozzo said that he couldn't guarantee his father's safety, Michael immediately went to the bathroom. To me, there were actual stakes to that conversation and the lack of guarantee made Michael ready to kill

[@derrickwoodard4388]

Not his first kill , Michael was a decorated war hero .

[@Chuckey88s]

This narrator does not provide screen writing analysis. it more like Garret Morris yelling: our top story tonight! on SNL. Captain obvious also gets Michaels motivation wrong. better to watch the directors commentary

[@decodinghollywood8175]

@@Chuckey88s the funny thing is that some people didn't agree with the analysis while some said it was obvious. Check out my departed video and tell me if that was obvious or tell me what you think is a hidden subtext in a movie and I'll dig into it

[@padraig0703]

i watched the director's commentary many years back on both films. All i recall was anecdotes which were interesting and complaints about the studio strong arming Coppola, not much talk about the plot.

[@decodinghollywood8175]

@@padraig0703 i listened to it yesterday, but there was no mention of character motives

[@busterbiloxi3833]

Morris was on SNL in 1975, a minor actor along with Larraine Newman.