Where to begin?

1. The entire Connie's wedding sequence, because it superbly sets out the Corleones as a family, not just as a mob, at the same time establishing some of the range of Vito's power. It is, also, an absolutely authentic period piece.

2. The entire Havana sequence from II. FFC at the peak of his obsession with authenticity (professors of Cuban history urge their students to view it to get a feel for what Havana was like on the eve of Castro's overthrow). Also, a complex, tense, dramatic denouement of the Michael/Roth struggle--by the time of their last meeting, each knew that the other knew what was up--and they continued to hang tough: Michael to find out who the traitor was, Roth for his $2 million. Roth's soliloquey richly earned Strassberg his Oscar.

3. Fredo and Michael in the boathouse. John Cazale, a brilliant actor, was constrained by the "dumb Fredo" character in GF and II. Here he lets go with all of the pent-up frustration and rage that led him to betray his brother. A great, charged performance.