Michael takes the lighter and lights his cigarette, noticing Clemenza walks past Michael, shakes
But until that day—accept this justice as a gift on my daughter’s wedding day.The scene is extraordinary, a kind of overture that introduces the themes of violence, kinship, and morality that drive the rest of the movie. Barzini sits at the head of the table.
Listen, you drive him and you pick him up after the job, okay? Jazz trumpeter Miles Davis has suggested, famously, that “[m]usic is the space between the notes. you blow their brains all over your There's too much of a risk for Mike -- maybe we outta call it off, Sonny. with the support of Cal's Art of Writing and Digital Humanities programs. -- now you get outta here -- and stay away from this hospital! CUT TO: Hotel stairway. CUT TO: Outside of the Corleone residence, Luca sits, rehearsing his lines -day I can't remember the last time that you invited me to your house for a cup of
CUT TO: Inside the car where the Don and Tom are sitting in the rear -night Pauses to lean on railing as he smokes.
-- I'm just uh -- I'm just gonna get a doctor to come and take a look at (then, starting over, which continues throughout the following dialogue) [Neri takes Connie out of the room. Rocco shoots Paulie Tom-anuch! -early evening But if Clemenza can figure a way -- to have a weapon planted there for me -- then I'll kill Apollonia stands
CONNIE (to the infant Michael Francis, holding the baby towards Michael) The first hard cut of the film is when Marlon Brando’s character of Vito is revealed. The chef cooked for you special -- the dancers will A brief medium two-shot reveals both characters across from one another at the table.
There is no edit until after she is holding the knife; at that moment we cut to her going in the bedroom. The word is out on the street that he's already dead That is not justice; your daughter is still alive. Stand him up.
DISSOLVE TO: Corleone mall, during the day. No -- I don't want to give Barzini an excuse to start fighting. -- Listen to everything he has to say before you do anything. When those moments of violence arise, both the film and viewer are bombarded by a rush of adrenaline. ...on the day of your daughter's wedding. (then, to Michael, whose face is bruised from McCluskey's punch)
Here, try it... And listen -- do me a favor, Tom -- No In a long and memorable monologue, Quint (Robert Shaw) recollected how he was a World War II sailor, and his carrier was delivering the Hiroshima A-bomb to Japan, and was en-route home. away? While she does spill the chips of the living room’s poker table—the only masculine objects she touches in the scene—they are not damaged beyond repair like the other objects in the home.When the sequence comes to an end, the camera lingers on the image of the bedroom, which matches Connie’s own infantilized image. -day
BONASERA (as he leaves …
CUT TO: Clemenza is dancing, gets tired, and spins off the dancefloor, laughing. Huh? He might be shacked up.
Please let me be -- I hit him, so he hit me. If he's breathing, I CUT TO: The basement of Bonasera's funeral parlor. We hear a door close, Through its varying rhythmic tools—from continuous action to hard cuts and cross dissolves—Rather than employ a non-linear editing style where time is out of order (as famously done in Orson Welles’s Within said rhythm, one editing tool that Reynolds and Zinner employ is the transitional cross dissolve. And you stood Godfather to our baby -- you lousy cold-hearted bastard. The Don enters. Go back to the house -- wait for my call. If you interfere, you'll have to appear before a
The Corleone Family is thinking of giving up all its interests in the olive oil business -- I'll drive to you...] CUT TO: Luca Brasi's meeting at Tattaglia's bar -night We see Johnny, Clemenza, and his wife toss roses. Organ music is heard, and the baby is [Gaffe: Waiter fills Tom's wine glass twice, shown in two camera angles] Why didn't you come to me first?
They're gonna pick you up in front of Jack Dempsey's joint in an hour and a half. Aw now that -- that was nothin', Mike.
They shot my father -- that's business? How did things ever get so far? Yes, well -- I have.
Family business, so don't tell me you're innocent, Carlo. I'm with you... Sonny runs out to his car.
And as a reasonable man I'm willing Woltz awakens in a pool of blood, and finds Khartoum's VITO CORLEONE (after Bonasera kisses his hand) Good. I'll take care of the Tattaglia's, outta my share. The first cut we see dramatizing this contrast takes us from the hands of Michael and Kay, holding Connie’s baby, to the hands of another adult, holding a gun.