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The Godfather Reaction! (Patreon)

Published:
2025-06-01 17:48:41
Imported:
2026-06
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The Godfather (1972)

Full Reaction You can either stream the Full reaction below using the embedded video player, otherwise you can click the 'Download' button which will take you directly to Google Drive, enabling you to save the video to your computer instead. You must provide your own footage to watch alongside the full reactions.

Comments

Geordie Joe

"I'm going to make him an offer he can't refuse" It's obligatory to say the line.

Azmat Mahmood

Easily one of the top 5 greatest movies ever made, the crazy thing is its sequel is right there with it. So glad you're doing this trilogy!

Ryan

I'll save my full comments until I finish watching tomorrow, but here's the translation of the restaurant conversation: SOLLOZZO: “I’m sorry…” MICHAEL: “Leave it alone.” ( or ) “Forget about it.” SOLLOZZO: “What happened to your father was business. I have much respect for your father. But your father, his thinking is old-fashioned. You must understand why I had to do that.” MICHAEL: “I understand those things…” [Waiter brings McCluskey's veal, then exits.] SOLLOZZO: “Now let’s work through where we go from here.” MICHAEL: “How do you say… ?” [Then Michael returns to speaking English.] [After Michael returns from the bathroom] SOLLOZZO: “Everything all right? I respect myself, understand, and cannot allow another man to hold me back. What happened was unavoidable. I had the unspoken support of the other Family dons. If your father were in better health, without his eldest son running things, no disrespect intended, we wouldn’t have this nonsense. We will stop fighting until your father is well and can resume bargaining. No vengeance will be taken. We will have peace, but your Family should interfere no longer.”

Thomas Corp

Long have I waited for your reaction to my favorite film. This is the one. And yes, I know it’s rather prosaic for a man to express the belief that The Godfather is the best goddamn film in the history of cinema. Period. Hell though, you want me to lie about it? I recall, Jess, how you mention something similar by how you acknowledge that saying that The Lion King is your favorite Disney film is a fairly obvious pick, yet it is as good as it is, and you love it so much that you don’t much care how typical a pick it is. Or like how on Turner Classic Movies, Ben Mankiewicz says much the same about his love for Casablanca. I’ve caught this in rerelease in the theaters thrice now, and each time was phenomenal. Sorry to hear that you filmed this on a not-so-great day, though you note that your intrigue in seeing it balanced it out. Further helping is I’ve been having the thought that you will have the reaction that you will have. Whatever your opinions or feelings of the film would be, I would accept that, I just really wished to know what you thought of this film and see your incredibly terrific reaction. Ultimately, you say that you are still processing the film upon its completion. Perfectly understandable. Plenty to say. As I mentioned in the Cabaret reaction, at the Oscars, this was in primary competition with Cabaret. I agree with Siskel and Ebert who gave two thumbs up and they both named this film the best of 1972, and indeed, this won best picture. Francis Ford Coppola attained film immortality with this one. They set the mood so perfectly in the opening scene, which when I saw it on a big screen, I started crying, I’m not ashamed of it. Very good words you said of how the opening scene demonstrates the power dynamics of Don Vito Corleone right out of the gate. Speaking of the name, you hear both pronunciations of the name over the years. The one with the pronounced vowel sound at the end is the accurate pronunciation. Pretty much nobody ever gets my last name right on the first try, so it is amusingly relatable. All this to say, no worries on the initial pronunciation of Corleone, it’s cool, Jess. And the entire wedding sequence is one of the best character establishments of anything. I knew you’d have some wedding planning commentary. From what I’ve heard from my parents, a lot, if not all of that scene is spot on accurate. Likewise, you made a remark or two about the cooking, which makes the mouth water. It was a delight to see how you got into Johnny Fontane’s singing, which, well, yeah, it is Al Martino after all. Whilst not a pleasant scene, it was something seeing how you reacted to the plotline with Woltz and how it shows how ruthless and villainous the Corleone family is. You know, just in case anyone in the audience was under the impression that they were a... cuddly bunch. Hell of a thing how you and Tom shared the reaction to Woltz outright admitting how he was Weinstein before Weinstein; Robert Duvall delivers such a perfect take there and indeed earns an Oscar nomination for his role as Tom. I was in sort of a bind about the horse. On the one hand, I knew that you would not be happy about it, by the same token, for a reaction, you don’t necessarily want that spoiled. There was also the possibility you knew already, which you confirmed, so I felt better to not say anything, either way. Your reaction is the flipside of the shock, and it was striking seeing your dread at that moment. It is a horrifying scene that thankfully is over and done with fairly quickly. You spoke of the film being the great character studies, filled to the brim with villainous characters galore. Why do you think this is my favorite film? Sollozzo emerges as a very memorable villain, played to perfection by Al Lettieri, whose career sadly was cut short by his untimely death. He brought the dark times with his scene with Luca Brasi, loved your reaction there. Just as I so appreciate how the surprise of the hit on Vito still remains the perfectly preserved twist to this film, and even then, you anticipate that it was not curtains for Vito, much though it surely looked like it. They do hang an appropriate lampshade of how it is most impressive to see that Vito survived his injuries. Poor Fredo when it happened, and I love how you saw Dog Day Afternoon before this as of John Cazale’s FAR too short filmography, Fredo is his most well-known character. So, it was nice to see how you go into this film recognizing him from Dog Day Afternoon, and it made your reaction stand out there. He’s excellent here, as he was in all his films. The cast for this is immensely wonderful. Lovely touches with film noir veterans Richard Conte and Sterling Hayden, the latter, you may be seeing again, soon enough, given how the recent poll is going. Man does the scene of Michael in the hospital get to you. So wonderful when Michael makes the shift that he did with setting the plan in motion to kill Sollozzo and McCluskey, how it incited the reaction from you that it did. That whole sequence is one of my absolute favorite sequences of the film, and probably my favorite sequence in anything. The lack of subtitles, that I see Ryan provided the translation for, is purposeful for the reason that it doesn’t matter what Sollozzo is saying, Michael has committed to killing Sollozzo. God does it just get me seeing how you were waiting to see the payoff there. It makes me so anxious. Even watching this again to prepare for your reaction, I’m saying, “Oh, God, I’m so on the edge of my seat to see what’s going to happen. Of course, I know what’s going to happen, and I’m so excited!!” Loved your reaction to the payoff, and your concern for the others in the restaurant was very kind and sweet. As you noted, Michael seemed well-suited to the life.

Thomas Corp

Contrasting that is Sonny. Figured Santino would try your patience at spots. He is a testing man that James Caan plays so well, and he also was up for the Oscar. Whereas Michael is much colder and more methodical, Sonny is far more volatile and sanguine. Quick sidenote, I swear that you made me cackle when Sonny wrote on the cabinets, and I said, “How did I know that you were going to comment on Sonny writing on the cabinets?” At least it was in pencil. His famous temper is well shown in his scenes where he sees what Carlo was doing to Connie, whom Connie, your heart goes out to her, as you said it did. Talia Shire is so good. Like you said, this film is filled to the brim with unsympathetic characters, yet Carlo stands out as being an exceptionally loathsome son of a bitch. And again, you know my love of villains, so Carlo being awful enough to stand out here, and I go so far as to say he’s up there very high in terms of most loathsome characters of anything takes some doing. You had the great reaction to Carlo’s beatdown. We both have the revulsion when Connie is viciously beaten by Carlo; sometimes I get close to throwing up at that part. Worse is how it’s the trap to lure Sonny to his death, that it is amazing that you were unspoiled about that. Did not expect that. Love how Vito calls in the favor from Bonasera. And the sitdown with the Five Families is another of my favorite scenes of the film, that I like how you observe that they all pat themselves on the back for drawing the line with drugs. And it stands out how it’s not out of moral objections, Vito even said it really didn’t make a difference to him. In that scene you have some of those moments that remind you when this all takes place with the casual racism and in other scenes, sexism. Knew that both would elicit reactions from you, and I like how the film just has the silent condemnation, just as there’s the reminder of how there was the virulent anti-Italian prejudice back then, which always makes the blood boil. You had the great assessments of Michael in Sicily. You spoke up for Apollonia, which, yeah, yeah, they do ok Michael’s courtship of her without asking her. It is accurate to the period, it is softened by showing that Michael and Apollonia have the mutual attraction, and as you saw, they connect fairly quickly. But yeah, they do set up the courtship without hearing from Apollonia and what she wanted. You are right about that. Lord did you have the reaction when Apollonia was killed. Bringing us to the overall arc of this that you perfectly summarized: the tragedy of Michael. You note how the film anticipates you to see it as the man who wishes nothing to do with the family business yet gets sucked in anyway. And how the film intends it as he falls from grace. Yes, the intent is the erosion of his soul. You had the read of perhaps Michael was always a villainous sort, and he may have been, knowingly or not, lying to himself about his true nature. You question did Michael deliberately seek Kay out and suck her back in precisely to delude himself, he might have, I feel that’s a valid read on that. You speak true that yes, Kay should have said, “No. Fuck off.” to Michael when he returned and entangled her back into the web. All throughout the film, Al Pacino delivers one of the most legendary performances in film. Of course, he was nominated for the Oscar, though he lost to Joel Grey for Cabaret, and we can’t even be mad about that win, as, well you saw the film. The oddity is that Al was in the supporting actor category, Al himself was very cross about that. The one defense I have is that it helps preserve the earlier twist when Vito is incapacitated. Loved how you caught the film covering the number of years that it did. They help sell it well with the subtle introduction to newer characters like Willie Cicci, played by Joe Spinell, whom, like Talia, you saw in Rocky. Alex Rocco as Moe Greene is an example of how it is never too late to be introduced into the film and make an impression. I am amazed at how you did not know the name Moe Greene; I thought for sure that you would have known that. His scenes were fantastic in showing how far Michael has risen, or fallen, depending on how you look at it. And with the ominous warning that he gives Fredo, love your reactions there.

Thomas Corp

Then there are the final moments with Vito. The conversation with Michael was already one of my absolute favorite scenes of the film. Following the death of my dad, and how the scene very perfectly captures that energy in the last conversations with one’s dad, as I found out... Anyway, the scene resonates more. One specific area being when they shift from the serious topics and talk about things like Michael’s son reading the funny papers. Little moments like that stick with you. And it’s the big scene, I believe, that among everything else in the film, that earned Marlon Brando his second Oscar. (Albeit he turned it down. I leave it to the other fellas to explain. Or you could just look it up. I’m too worried about saying something wrong about that.) Vito, by the way, emerges as my favorite character of the saga. It is the highlight of the tragedy, particularly from Vito’s perspective, that you noted. How it was his hope that Michael could have escaped the life of crime, and yet, there was no such success. Both Marlon and Al are so perfect in that scene. The scene always made me emotional. Worse now that my dad’s been gone for soon to be four years. I cried harder than I have in the past watching it this time. The big part being how Vito said about there just wasn’t enough time. Vito’s final scene hits that perfect balance of sweet and sad. It always distracts my mom as she always notes that the kid playing little Anthony looks exactly like my brother at that age, which, she’s not wrong. You had quite a sweet reaction to Vito’s little thing that he did with the orange. It got me pretty good seeing how Vito’s death elicited the reaction you had. And with Vito gone, the enemies think their victory was assured. Too bad that Vtio and Michael were ready. Leads to the last of my selections for favorite scenes of the film: the baptism sequence. Quick little shoutout to how adorable Sofia Coppola was as a baby as that’s her in that scene. This is another part of the film that I figured you’d anticipate. Reason being is that it has been parodied and homaged several times. Two examples that I know you’ve seen are Cersei making the move with the wildfire at what was supposed to be her trial borrows heavily from said baptism sequence. And there’s in Revenge of the Sith. Order 66 derives cues from this, and later, when Anakin wipes out the separatist leaders, cathartically saving Nute Gunray to the last. Intercut with the Emperor ensuring the security and continuing stability by having the Republic be reorganized into the first Galactic Empire for a safe and secure society. Again, surprise about your surprise about Moe Greene was strong, though I LOVED how you didn’t expect him to get shot in the eye as he did. And we have a wonderfully understated introduction to Al Neri with him being tasked with killing Barzini, and he shows he was well-suited for the job. Great to see your reaction to Tessio realizing his betrayal was discovered, and Abe Vigoda sells Tessio’s resignation to his fate so well. We both had the response that we did when Carlo answered for Santino. Love how you clocked the trap. Dialogue implies that most everyone knew, and Vito and Michael lulled him into the false sense of security. Yes, fuck Carlo to death. Nobody is shedding tears over him. Even so, it is remarkably cold, as you observed how Michael deceived him, up to the point when Clemenza avenges his godson, and it is very cathartic hearing Carlo’s throat get torn open. As you say, though Connie is better off without Carlo, the sorrow for her trauma is there. Again, Talia is brilliant. Culminating in that last scene where Michael allows, one time, for Kay to ask about his business. You acknowledge that yeah, there is some measure of pragmatism with the not asking about the business, granted. It’s the way that he says it that got the reaction from you, a reaction I had suspected was coming. And poor Kay, who yes, is perhaps the closest thing to an innocent in this film, it guts you when she finds out Michael was lying, and unlike Ellie, she doesn’t have to wait years until Joel lies to and kills Eugene, then lied to Gail before the horrible truth is uncovered. Ending with that perfect final shot of Richard Bright as Neri having the terrific apologetic look of some sympathy as he closes the door on Kay, and Diane Keaton has the PERFECT look of heartbreak and betrayal that Kay feels in that moment. So, then we had your absurdly excellent thoughts on the film in general, and the big highlight was how you assessed Michael’s character. I adored all your words on that. As I mentioned, this film is for me what Jurassic Park is for you. I did not expect that this would supplant Jurassic Park for you, because of course it wouldn’t. You’re dug in on that. Again, I get completely how you said you were processing the film upon completion. And honestly, though you were a bit under the weather, it did not detract from anything, at all. I’m just beyond happy to have finally seen your reaction to it, and I loved your words about it. Words are failing to express my gratitude and appreciation to you for this reaction. Even so, I thank you, Jess, so, so very much for this beyond outstanding reaction.

Ryan

Francis Ford Coppola has given us so many iconic lines. "I'm going to make him an offer he can't refuse." "I love the smell of napalm in the morning." "Stay gold, Ponyboy. Stay gold." And of course, "What do you think of this boner I got?" But however far he might have fallen, no one can ever take the achievement of The Godfather away. Regularly scoring high in the lists of the greatest films ever made (unless it's topped by its sequel), with an indelible impact on movie culture ever since, including being one of two (Citizen Kane being the other) that it's said you can recreate entirely with Simpsons parodies. And I don't blame anyone for being intimidated to actually see it, which carries along the fear that you'll be the asshole who has to spoil everyone's fun with "It insists upon itself." And much as I love the movie myself, I do try to keep in mind that the whole artform is subjective and no one else's views are any more valid than mine. But of course it's still nice whenever someone does get the same experience out of it, so this was lovely. It can be hard to fathom what a risky prospect the movie was seen as. Gangster films had been huge in the early '30s, but the arrival of the Hays Code blunted a huge part of the appeal and there were doubts they could have anything like the same impact. It took a monster bestseller like Mario Puzo's book for any studio to take a chance on it, and even then Coppola and producer Albert Ruddy had to fight the bosses on just about every creative decision. Plus, the actual Mafia had gotten very wise to the impact movies could have, and Ruddy needed to have several meetings with mob bosses after his car was shot up as a warning. You might have noticed the word "Mafia" is never once spoken, which was one of their most important demands. Another big risk was the cast, who were mostly young unknowns with at most one attention-getting role on their resume (The Panic in Needle Park for Pacino, Brian's Song for Caan, Lovers and Other Strangers for Keaton). The exceptions were Robert Duvall, who'd had the single greatest film debut of any actor in To Kill a Mockingbird and raised his profile in the likes of True Grit and M*A*S*H, and the legendary Marlon Brando, the quintessential actor who was always a nightmare to work with but kept steadily employed because he was just that damn good at what he did. And that really paid off, as evidenced by how just like Anthony Hopkins in Silence of the Lambs, he won a Best Actor Oscar despite Vito being by all logic a supporting role behind Michael, just for how much he looms over your perception of the movie regardless of actual screen time. It also makes it hilarious that Diane Keaton's very next film was Sleeper, where she does an impression of Brando in A Streetcar Named Desire that I have to imagine was informed by her actual experience with him, even getting down his notorious glances to cue cards due to his refusal to ever learn his lines beforehand. Coppola knew the value of a killer opening scene from his Oscar-winning Patton script, and he really went all out here, spending nearly half an hour at Connie's wedding (and boy is that awkward on rewatches knowing what kind of guy Carlo is). But it doesn't drag at all, especially in comparison to another wedding John Cazale attended in The Deer Hunter. The time is used perfectly to introduce us to the fairly large cast and let us get all their personalities and relationships down before everything starts going to hell. It's also the source of probably the first reference to the movie I ever saw, with the MST3K line "And now turn to page 27, where Sonny and the bridesmaid are...well, you'll see." The father of Buddy the Elf, ladies and gentlemen. One dirty little secret of the movie is that the original book kind of sucks, and this scene is all that remains of a whole insane running gag about Sonny and his wife having enormous genitals that make them unsuited for anyone else. It figures that the horse head would be among the things you had advance warning of, and at the least the movie goes very far out of its way to let you know Woltz is a guy who absolutely deserves it, even if the horse itself is totally innocent in all this. And this was before Hollywood people had to pretend they didn't approve of Harvey Weinstein-style crimes, so this was quite a big swing. Maybe Howard Beale got off easy if this is what could come from a meeting with Duvall going bad. The biggest change from the book is that Johnny Fontaine continues being a major character from here, as something of a counterpoint to Michael who manages to work his way out of this to legitimate success, but in the meantime it's dull as hell and I can't blame them cutting it with the movie three hours long as it is. Around here is where you start getting one of the more uncomfortable parts of the movie, with Connie's spousal abuse that only Sonny seems to care about. It's especially chilling to see her own mother shutting down any talk against it, and unfortunately this is indeed one of the more unsavory parts of old school Italian culture which in some quarters still persists. It gets a nod in The Sopranos when the terrifyingly unhinged Richie Aprile gives Chrisopher a furiously protective speech to never lay hands on his niece...at least until they get married, at which point it becomes none of his business. I've always wondered if Coppola felt at all awkward filming his sister acting out this material, and just how much discussion took place between them about her taking this role. And once you've seen this movie, it resonates even more when Talia gets to personally lay down the law against her abuser and make it stick in Rocky. This is a first, where I have so much to say that I feel the need to split into multiple posts. That's just how much this movie gives you to talk about.

Ryan

One very unexpected result of Ruddy's meetings with the mob was their hatchet man Lenny Montana getting a role in the film as Luca Brasi. Even with all the nasty things he'd done, he was so intimidated by Marlon Brando that he completely messed up his line about his daughter's wedding, which Coppola found so endearing that he added the earlier shots of Luca practicing his speech so it would make sense and could be kept in. And for being a non-professional, he commits like hell to his death scene, and you fully believe you're seeing the life being squeezed out of him. The restaurant scene is one of the film's most famous, and The Sopranos comes up again as it was made a plot point as Tony's favorite movie scene which his son tries to emulate with disastrous results. McClusky is a little too confident that the purity and essence of his natural fluids will get him through this, and we're left to mourn the good man Michael could have been forever lost, through a process we've gotten to see every step of. Michael's time in Italy sometimes gets bashed for being too much padding, but I've never minded it that much. The movie takes on much more of a Leone feel with sparser dialogue and the actors having to communicate much more with just their faces, and I always dig that when it's done well. Simonetta Stefanelli does a lot with very little to make us understand why Michael falls for her so hard, and I have such tremendous respect for how this experience caused her to make a personal moral decision to never again do onscreen nudity, which she completely stuck to despite how much it stymied the career she could have built off this film. There are some reports that Gianni Russo, an actual former gangster, wasn't having to do much acting as Carlo, and James Caan took the opportunity during Sonny beating him up to land a few hits for real. I'd believe it given how some of them look, even interspersed with that one that misses by a mile. Which leads to his death scene, which I'm very surprised you didn't know about. He actually gets off a bit easy compared to what Annie Wilkes would do to him. This is actually one of the book's few bright spots, where we're led to believe it's Michael on the slab and the reveal of Sonny is a big twist before this scene is told in flashback. It would be rather trickier to pull off on film, so I'm perfectly fine as it is. Alex Rocco sometimes gets lost in the shuffle when talking about this film, but he pulls off a very tricky job here of convincing us how big a deal Moe Green is with just one scene late in the film. His research shows that one person can't make a difference no matter how big a screwball they are, and that gives him the perfect cockiness that you can't wait to see brought down however much you know you shouldn't really be rooting for Michael either at this point. The movie was released in theaters again for its 50th anniversary a few years ago, and the biggest impression I got was how much it made the sudden closeups stand out, none more so than Michael telling Fredo to never go against the family again. After some more business that's already been pretty well talked about here, we get to Michael's final conversation with his father, which resonates very strongly with Brando's legendary "I could have been a contender" speech, this time regretting how his son has lost any chance to make something real of his life. And he really should have known to stay away from fruit after he was almost killed buying some.

Ryan

And at long last, the big scene that made this movie one of the greats. The big line I've been using to sell people on Sinners is that it has one scene that made me think right in the moment this is what it must have been like to be there for the Odessa Steps, or the Star Destroyer flying over the camera, or the Godfather baptism. Future "thank god she can direct" comment recipient Sofia Coppola had the kismet of being born at the exact right time to be able to be featured here, and it's incredibly sweet how much Coppola goes to bat for her in the commentaries on these movies, regardless of whether you agree with him. And she's surrounded by one of the greatest pieces of editing in movie history providing this story of very bad people with a perfectly fitting emotional climax. Don Barzini gets whacked. Tessio, ho ho, you won't see him no more. Moe Greene, bam, he gets it right in the eye. And Michael is now the new Godfather, and he shuts the door on Annie Hall. Oh, and there's the final wrap-up, to which I just have to add that Carlo's death was another huge revelation on the big screen, with his shoes feeling like they're about to eat you getting that close to the camera. There was a big controversy at the Oscars as Marlon Brando sent up civil rights activist Sacheen Littlefeather to announce he was declining it in protest of Hollywood's treatment of Native Americans, to audible boos from the audience. For a while it was even reported that John Wayne had to be physically restrained from storming the stage, though that's been pretty well debunked as he was up in years, weakened from cancer, and for the many genuine faults you can lay at him, he was well known for being absolutely opposed to violence against women. In the last couple years the story was further complicated as after her death, Littlefeather was revealed to not actually be part of the tribe she claimed. The conversation pretty much just stopped there as everyone was too tired to keep delineating the morality of every party involved. There's a series on Paramount+ called The Offer about the making of the film, and it's a very fun time despite a few big historical liberties. For any Ted Lasso or Fargo fans, Juno Temple has a very showy role, and easily the biggest standout is Matthew Goode as Robert Evans, the Paramount executive who greenlit the movie and was most on the line if it failed, at the same time his marriage to Ali McGraw was falling apart. In fact, this whole thing has put me in the mood to go through it again, so that's the rest of my week covered. Odds are you'll be getting to Godfather 2 from the polls before too long, so I'll just say here that the movie has an intermission shortly after the two hour mark, so you don't have to be too put off by its nearly four hour length and can easily do it in two separate sittings. I go back and forth on which one is actually better, but hopefully you liked the first one enough that it gets you excited.

Thomas Corp
>>175983517

Yes, the baptism sequence just propels the film into legendary status. Now I’m even more curious about Sinners. See we both highlight Sofia in the scene here. Again, I’m going to have some strong words of defense if we get to the third one, because as far as I’m concerned, she did nothing wrong really. The romance subplot is weird, though that’s not her fault. I do find it very sweet hearing Coppola in the commentaries defending Sofia. Seeing the Baptism on a big screen, and with the theater sound is beyond a revelation. You mentioned about close ups, the one that really is terrifying is Cicci trapping Cuneo in the revolving door; that psychotic look in his expression makes an impression on a big screen. Neri killing Barzini is another hell of a thing. Poor Fish, sleeping with the fishes. Er, sorry Tessio. Then there’s Moe, “In One, Moe Greene’s eyes got too big for his stomach, so they put a small caliber in his eye.” Again, I like how Neri looks ever so slightly apologetic when the door closes on Kay at the end. Carlo’s death is already one of the most satisfying deaths. The big screen enhancing the visuals, combined with the grisly sound in a theater, I hear you on that one being a revelation. Bringing us to the big Oscar controversy. I don’t think I can improve on what you wrote. I was worried about possibly saying the wrong thing myself. Always did sound odd, the apocryphal part of the story about John Wayne. I mean, it wouldn’t have necessarily shocked me if he had done what he was reported to have done. But his health, combined with how you mention for all his numerous faults, violence against women was not among them, means that the tale is fairly easy to debunk. Sort of felt like the incident just faded into legend, then gained renewed attention upon news of Sacheen Littlefeather’s death, and then, as you said, the conversation pretty much just stopped there as everyone was too tired to keep delineating the morality of every party involved. Behind on The Offer. My brother and sister in-law have seen it. My brother especially sung its praises. Juno being in it sounds amazing. Believe my brother did mention about really liking Matthew as Robert Evans. I think he also mentioned really liking Dan Fogler as Coppola. Assuming that Jess isn’t just going to put it on the poll, I have Part II ready to be requested to go on the poll. And later, the third one, and I hope that wins as I just really want to hear what Jess would say about it; what perspective she would have. Hopefully, Part II would win during a less busy time, though that reaction would be split up, and I did double check my blu-ray copy, and they keep the word “Intermission” in the film, so that’s the perfect spot for the break. There is always the great debate about Part I or Part II of The Godfather being the superior film. My brother leans toward Part II. This one’s my favorite film of anything, so I say this. It does make great conversation. Here is hoping that Jess sees the other two. But again, hopefully during less busy times.

Bob Nicholas

Curious as to how you watched the movie as I have seen it in a variety of different ways and there has always been subtitles for the Italian dialogue. You really are missing out on some important dialogue.