Favourite little moments

Had a quick search of the forum but couldn't find a thread similar to this - apologies if there is one:

What are your favourite 'little' moments in the trilogy? Some of mine would be:

* the camera slowly zooming in on Micheal when he first talks of killing Sollozo and Mcluskey - perhaps the first clear insight into what Micheal could/would become.

* Vito and Antony playing in the garden right before Vito dies - young Antony's performance was very good!

* Sonny putting Carlo firmly in his place at the dinner table - "don't you ever tell her to shut up" followed by "we don't discuss business at the table".

* "what a nice pear" from Mama Corleone followed by Vito's smile.

* Vito's conversation and refusal to accept the groceries from Abbandando - showed the type of man Vito was.

Sollozzo silently studying Michael at the dinner table at the restaurant while Michael tries to keep calm is definitely one of my favorites.

In Part II, we see a similar situation when Vito sits at the table with Fanucci.

I also enjoyed the moments of Mike and Fredo at the terrace in Havana.

And when Pentangeli and Mike discuss business in his Lake Tahoe's compound when Mike suddenly dictates Frank in Sicilian that his family is still called Corleone and he should act like one.

In Part III, when Mosca the assassins' kid acts like a donkey while seeing the expression on Mosca's face...

For the rest, the things you already mentioned.

Some good ones there!

I also liked:

* Vito's hand gesture and facial expression when he learns that micheal was the one who killed Sollozo

* when Micheal says to Moe "you straightened out MY brother?"

Also two great ones! I think we covered it all already.

But there are so many!!

I liked Vito's dialouge which begins " I have a sentimental weakness for my children..."

When Clemenza makes the sauce.

A few off the top of my head:

Clemenza drinking from the jug of wine, and the parallel scene in GFII with Pentangeli drinking from the hose.

The lighting on Michael when he interrogated Carlo.

Clemenza's gruff tenderness toward Michael before the Sollozzo assassination ("We were all proud of you...your father, too.").

Michael's glance at his steady hands after lighting Enzo's cigarette outside the hospital.

Definitely also great moments.

I'll respond with my favorite little (and big) gestures:
--Vito's face when he learns Sonny is dead, and when he uncovers Sonny at the funeral parlor.
--Vito's finger pointing to Tom to get Bonasera a drink.
--Vito dusting off Sollozzo's chair.
--Vito putting his hand over his heart when he pledges that he won't be the first to break the peace.
--Vito extending his hand to Bonasera to be kissed.
--Tom's grin when he hears Sonny banging Lucy.
--Michael's face after Sr. Vitelli invites him to his home.
--The way Roth's eyes glitter when he says, "This...is the business...we've chosen.
--Geary all puffed up when he thinks Michael is going to cave into his demands.
--Neri, after Michael asks Rocco and him to step outside so he can talk to Tom alone, starts going out, then stops to swipe a cigar.

...and about a hundred others.

Sonny dunking the bread in Clemenza's sauce: "Send somebody with him anyway." A very Italian, very "Old World" gesture.

Two deleted scenes. After Sonny breaks the news to Mama about Vito getting shot, they occur almost back to back:

Sonny, again taking a piece of bread and dipping it into a frying pan (in the novel he made himself a "sloppy sandwich of fried peppers").

Then, when Sonny walks into the Don's den, he can't bring himself to sit in Vito's chair. He clearly feels that, in some way, this would portend Vito's death. He was probably just being superstitious, but it's a VERY moving scene.

How about when Manolo asked Michael if he should trim the bushes in front of his bedroom window?

That was just a metaphor for Manolo's affair with Kay. He was actually trimming her hedges.

Michael's panic when he doesn't find the gun at the toilet.
Carlo's fear: "Don't do this to me."
The kids running in while Luca is telling Vito that he wishes Conny's first child to be masculine.

The look of evil on Sollozzo's face when Tom Hagen was kidnapped and warns Sollozzo that even Sonny wouldn't be able to call off Luca Brasi (not knowing that Brasi was already dead). Sollozzo replies, "Let me worry about Luca". Pure, delicious evil.

The look of impatience/irritation on Sollozzo's face as the waiter is opening the bottle of wine.

Vito's fingering pointing when he tells Bonasera: "and then they will fear you." followed by Vito's hands in his pockets and his body language as Bonasera tells Vito: "Be my friend."

Sonny's wife gesturing to the other women about the size of his manhood, and the look on her face when she suddenly realizes he's run off with Lucy.

The exchange between Michael and Sonny before Michael leaves to kill Sollotzo, neither knows it is the last time they will see each other.

Also the way Pantangeli, in the Congressional hearing, acts so aloof and goofy when he decides to recant on his original testimony regarding the family.

Probably the most emotional little moment (and arguably the best) in the whole trilogy.

The satisfied look of Clemenza after having a leak and after having heard the shot that killed Paulie.

* Clemenza's face when young Vito is telling him that he'll somehow convince Fanucci to take less money. He looks at him thinking "you've got BALLS"

* Luca Brasi's "may thier first child be a masculine child" speech and Vito's face throughout.

* The glance that Micheal gives to Tom after he says "Roth played this one beautifully".

Also, the old man singing at Connies wedding. Hilarious!!

TB made me remind one. When Mike talks to his mother at the Lake Tahoe compound in Part II. When his mother says that he will never lose his family and he responds with that times have changed..

It's possible that, with a different answer, she could have stopped or, at least, changed him or his direction.

When Sollozzo wipes his hand on his jacket before shaking Vito's hand after their meeting. Sollozzo's palms had been sweating.

.. or part of his hand had accumulated condensation from the glass of wine he held.

Um, room temperature beverages don't generate condensation.

You guys have already mentioned quite a few "golden moments" in the Godfather series. But...

* In the first Godfather, some of my favorite scenes are those of Michael hiding out in Sicily - and especially of his courtship and marriage to Apollonia. Michael hadn't yet become very hardened, so it was touching to see that he was still capable of falling in love, and being sweet to his woman.

* In Godfather II, I found nearly all the flashback scenes of Vito's early life - especially as a young husband & father in New York - fascinating. Part of the fascination was simply the "period piece" attention to detail - the sets, props, clothing, the traditions & social mores, etc. And part of it was related to the study of Vito's character - especially the ways in which he was compelled to respond to the pressing challenges in his life.

In a number of ways, I found myself actually liking young Vito quite a bit. He's basically an honest person by nature. He's loyal. He's generous. And he's compassionate to others, seemingly sincere about helping people out, as his circumstances allow. Hardly the stereotypical gangster sociopath - like Al Capone, or Bugsy Siegel, or Willie Moretti.

Carlo telling Connie "Cmon be a murder like your father"

Little Vito singing the song about the donkey when he's quarantined. I remember my grandmother singing that song.

When all of the immigrants come out onto the deck of the ship to see the Statue of Liberty as the music swells, very moving.

The dirty look Kay shoots Michael right after the assassination attempt. It's a miracle he doesn't burst into flames right on the spot.

The scene between Fredo and Michael in Cuba, when Fredo confesses that he always felt like an outsider.

In Godfather III, when Michael kneels at Don Tommassino's coffin and asks why he was so loved when Michael was so hated. I always thought he was, on some level, speaking to Vito.

Paulie's co-worker tossing him sandwiches at the wedding. I remember my grandmother-in-law telling me stories about "football weddings" Where they would pass out the salami sandwiches and have grape soda. That was in coal mining country in Northeast Pennsylvania.

My sentimental pick is in III,when Michael flashes back to the dance scene with Appolonia,just before his death.
Although the scene lasts only a few seconds,the expression on his face speaks volumes. We see a happy Mike,a man who still has a chance to take a better path than the one he ultimately chose.
We see the sparkle,the impish grin that must have swept Kay off her feet the first time she met Michael.
The phrase that comes to my mind every time I watch that scene is "What might have been?"

After Sonny destroys the photographer's camera at the start of GF1, Paulie gives it a little "me too" kick which I think is pretty funny.

The way Fredo twitches when he says" It ain't the way I wanted it!" after Michael tells him "It's the way pop wanted it."

A brilliant piece of acting on the part of John Cazale.

DC, I think almost every moment of Fredo's were favorites. He had a gift for under statement that became a big statement.

Sonny's wife gesturing to the other women about the size of his manhood, and the look on her face when she suddenly realizes he's run off with Lucy.

lmao... too bad she couldn't run after them with a shot gun.. modern Thai bitch style "Ima keal heeemmm!"

In a number of ways, I found myself actually liking young Vito quite a bit. He's basically an honest person by nature. He's loyal. He's generous. And he's compassionate to others, seemingly sincere about helping people out, as his circumstances allow. Hardly the stereotypical gangster sociopath - like Al Capone, or Bugsy Siegel, or Willie Moretti.


I agree completely with this one... that slum lord needed to be wacked... he was on everyone's jock, he was not fair, and he was basically useless... I myself wouldn't kill him but I wouldn't be balling my eyes out running around town asking for him when he disappeared... if I was the wife I'd say "oh he's gone? for good I hope..." ha ha

My favorite scene was when Vito danced with Connie at her wedding. My Italian grandfather looked very much like Don Vito and danced like that with his daughters.

My favorite scene in Godfather II was the boat scene where all the immigrants in their tattered clothing looking at the Statue of Liberty hoping for a better life. My own grandfather was 9 years old when his father brought him from the hills of Naples to America. My grandfather told me when he saw that scene in the movie that that was exactly how it was when he came here. Very touching. He's gone now, and every time I see that part, I think of my grandfather.

Ooh, I know! I can't believe I didn't think of this before now:

Two of my favorite little moments are from the first scene of Godfather I; the scene with the dialogue between Vito & Bonasera.

* While he's seated at his desk and talking with Bonasera, Vito is playing with a cat that's lying in his lap. That cat is a complete hoot! So sweet; so playful. I always thought that its trusting innocence was a statement of ironic contrast to the dastardly deeds being discussed at that very moment.

* After Vito agrees to avenge the beating of Bonasera's daughter, and issues orders to Clemenza via Tom, he utters a subtle little sigh of resignation as he leans against the interior of the door to his office: a slight shrug as he utters: "Eh". Such a small gesture - from which could be inferred so much. Fatigue? The constant weight of responsibility? Something else?

~ Q

Very astute observation, Q. Did you hear the cat purring in the background?


Also note that he rubs or scratches his moustache at the same time as he's telling Tom to "give this job to Clemenza." Could be he was pondering his decision. Also could be Brando had just grown a 'stache for the part, and it was itchy.

BTW: Have you noticed that your namesake appears in Havana, in the scene where the Cuban President is meeting with the American business bigshots. He's seated behind Roth.

Now that you mention it, I do recall hearing the purring. It's quiet, but audible. Brando must have been wearing a microphone that was situated just close enough to pick it up. (Unless it was dubbed in.)



Yep, I have noticed that. He isn't on screen more than a moment or so. But I'd recognize that mug anywhere!

Yet another example of the subtlety of FFC's craft, with narrative that doesn't hit you over the head with the obvious, but instead makes you work for it - not unlike the way events often play out in real life. (Pet peeve: I detest movies with so little respect for my intelligence that they insist upon spelling everything out in detail. Note to director: Don't tell me. Show me. )

As for the bigshots' scene in Havana, only if one happened to pay close attention and actually recall having seen his face, would the significance of Questadt's presence at that meeting start to become apparent by the time he was formally introduced into the film at the first Senate committee hearing scene. It isn't until several minutes later in the film, when Fredo utters: "The Senate lawyer, Questadt. He belongs to Roth", that the full significance of Questadt's role in the narrative is finally made explicit.

~ Q

Q: Years ago a sharp-eyed member posted a screen grab of Questadt sitting behind Roth in Havana. A lot of people on this board hadn't noticed it before. It raised an immediate question: If Michael had seen Questadt sitting behind Roth in Havana, he'd have known, as soon as Questadt turned up as the lawyer questioning him at the Senate hearing, that he'd fallen into a trap set by Roth--and he would have comported himself differently. Some people here speculated that Michael's diabetes, which manifested itself in III, had already begun to affect his vision in II. Another member resolved it: He found an earlier script treatment in which Michael was to meet with Questadt in Havana. FFC dropped that idea from the final cut--wise decision, since Michael finding out (from Fredo, no less) that Questadt belonged to Roth--after he perjured himself--made for far better drama.

That left another question: Why did FFC leave that snippet of Questadt in the final cut? My guess is that FFC had already shot the Presidential meeting scene and may have shot the Michael/Questadt scene later (if it was shot). After he made the decision to drop the Michael/Questadt meeting, he was unable to cut out that snippet of Questadt in the Presidential meeting--probably because, in that pre-digital era, he couldn't have done so without disrupting the visual and audio content of the scene. All of the Havana scenes were shot on location in the Dominican Republic, and it would have been prohibitively expensive--maybe impossible--to redo that scene just to cut out two seconds of Questadt. So, I'm guessing, FFC left the snippet of Questadt in, hoping no one would notice. Of course, that was before this Board existed.

TB, I agree. Reshooting and even post-production can run into money. That's probably why alot of mistakes get left in movies.

In GF2 when young clemenza and Vito are "stealing the rug" i love clemenzas stance when he hears the policeman behind the door and pulls his gun out..

Another little golden moment that just came to mind:

When Michael and Fredo are having their intimate little tete a tete at the café in Havana, Fredo says: "Sometimes I think I shoulda married a woman like you did -- like Kay. Kids -- have a family. For once in my life -- be more like..."

...and we're anticipating that he'll say, "...you." Instead he says "...Pop." Then he sort of reaches for Michael's hand, but withdraws his own. And he says, somewhat angrily, "Why didn't we spend time like this before.?

I guess there's a limit to brotherly love and intimacy when your brother set you up to be machine-gunned at your home.

It's a very telling scene. We get a good look into Fredo's deeply conflicted feelings toward Michael: Resentment and anger, coupled with genuine admiration and affection, plus real fear of Michael's retribution - should Fredo's treachery ever be found out. The tension that's there presents a foreshadowing of dire events yet to come...

I liked the blinking lightbulb before Vito shot Fanucci. Also... Fanucci's strutting and preening was a nice touch.

Genco Abbandando, dying in his hospital bed. Although obviously delirious with pain and medication, his absolute devotion to and belief in his Godfather shines through. A brilliant mixture of dark humor ("so it's been arranged then?") and touching sentiment when Vito remains alone by the side of his old friend to "face Death" with him, granting Genco the Corleone Family equivalent of peaceful Last Rites. Epic scene.

I always liked the way Fredo withdraws from Michael in that moment. Michael's finally being somewhat nice to him and Fredo doesn't think he's worthy to accept it at this point considering what's happened. If only they'd made the effort to communicate earlier.

The scene were Clemenza, Pauli and Rocco are driving and they stop way out in the middle of no where and FFC made sure the Statue of Liberty was in scene, ironic. Then the famous leave the gun take the cannoli line, FFC reminding us about how the mafia life and the family life is interwoven.

There are so many great subtle moments to comment on in the Trilogy that I love. A lot are already mentioned.

Here are a couple of my favorites.

In II, when young Vito is back in Italy. He and Tommisino go to Don Ciccio's to "get his blessing on their Olive Oil Business". Right after Vito whisper's "Antonio Andolini" and rips Don Ciccio's stomach open with the knife, He's walking away and it looks like he "tweaks" his cheek a little. Like a final F you!

When Sonny comes out of Lucy's apartment (I guess that's what it was) and says to one of his bodyguards who was reading a book. "Hey, save it for the liberry"

When Michael, Calo and Fabrizio are talking to Apollonia's father about a girl they seen that day. Fabrizio is describing her and Calo is sort of agreeing yet not in a non-impressed way.

Good catch on the tweak. I thought he was just wiping off the blood but, watching it again, there does seem to be an extra tweak as well.

I've always wondered whether Don Ciccio, in his final seconds, was able to put together who it was who killed him, and realize that his prediction of "when he grows he'll grow strong" was dead on accurate.

I always thought the funny thing about Calo in the scene you mention is that he is saying the exact same words as Fabrizio.

Mrs. Woltz and I have an inside joke from that - whenever we hear someone repeat what someone's else just said we whisper "Piu Greca d'Italiana" or "a bocca"

One of the most expressive expressions (how's that for alliteration?) is in II when Michael meets with Ola and tells Ola that Tom only participates in certain aspects of the family business. Tom forces a smile and a few agreeable words then walks to the sun porch and shoos the kids away. He then casts a very brief glance at Ola and Michael as he walks away while his face says it all - monumental hurt. A great bit of Duvall's acting on displpay.

Yes, that was one of Duvall's best. Trying to contain the hurt. "I'll be outside if you need me," he says hopefully. "Just tell Rocco we're waiting," Michael replies--a real kick in the ass.

I love when the Corleone family is able to get Sen. Geary in their pocket. Fredo's brothel, dead hooker on the bed, and Tom Hagen is there to save the day. Just out of Sen. Geary's view is Al Neri cleaning up, and Hagen gives Neri that "come on, WTF" look.

One little thing I love in that scene is the change in Geary's expression when Tom says, "It will be like she never existed."

You can see Geary suddenly realizes that there may be a way out of his predicament.

That expression was really good.

One of my favorites is still the scene in Part II where Young Vito is driving the truck, and all of a sudden Fannucci jumps onto it and goes "Ayyyyy!" before asking for his cut of the money.

I always liked Michael sitting alone at the end of II in his compound no doubt contemplating his life and his future. This time though I noticed that he was wearing a wedding ring. Anyone else notice that?

When Sonny storms out of Connie's wedding to rough up the guy taking pictures of license plates, he has Paulie Gatto in tow, well behind him. After he spits on the FBI guy's credentials and says, "Goddam FBI don't respect nothin'," he and Paulie turn away. When Paulie is well distanced from the FBI guy, he makes a "cornudo"--the two fingered "horns" that are the classical Italian sign of the cuckold--but does it so surreptitiously that you barely notice it. A perfect sign of what a weasel he was, and a hint of treason to come.

When Geary fails in his attempt to extort Michael, he turns a toy cannon on Michaels desk to point it at Michael. Foreshadowing of the hit? Did Geary know something?

TB, I didn't see what you saw in that scene. In fact, Paulie is not well behind Sonny; he's right on his heels until Sonny is directed by an agent to another agent sitting in the car. Once Sonny leaves that agent and walks back toward the gate, Paulie is right there and actually covers Sonny's retreat back to the gate. Several times Paulie moves his hand toward the gun he has under his coat. On the other hand, Clemenza never leaves the vicinity of the gate.

He was working--sampling the wine to make sure none of the guests were being poisoned.

78, that is one of the subtle faux pas in the film - artistic, directorial license. They had just come from Manhattan and heading back to Long Island. As they are driving, the NY skyline is in the background (looking to the west). When they pull over for Clemenza to take his leak Lady Liberty is in the background, her back to the camera (looking to the east). The scene is shot from the Jersey side in the area of Liberty Park.

Marycas,

Thanks for the insights,I wasn't aware of the details surrounding that scene.

Another good one: When Fredo and Michael are having their drink in Havana, Michael tells Fredo that he's going to be assassinated after the Presidential New Year's Eve party. "Who?" Fredo asks. Michael replies, "Roth." But he draws out "Roth" and looks thoroughly disgusted when he says it. I inferred from his expression that he may have been disgusted with himself for having been taken in by Roth for so long before he finally figured out Roth's bad intentions.

GF II, at the business meeting Cuba, when the Gold Phone is passed around, Roth doesn't even look at it.

Another choice one: when Bonasera finally says to Vito: "Be my friend?" Vito kind of shrugs, as if to say, "maybe, maybe not." Then Bonasera says, "...godfather," and kisses Vito's hand. Vito then says, "Good," and puts his arm over Bonasera. Perfect end to a perfect scene.

TB, that is one of the best scenes. They are like two schoolyard kids making up after a fight.

Another that comes to mind:
When Michael and Fredo are having their drink in Havana, Michael reveals to Fredo that he's going to be assassinated after the Presidential New Year's Eve party.

"Who?" asks Fredo.

"Roth," Michael replies. He kind of spits out "Roth" and has a disgusted look on his face. I read into his expression possible disgust at himself for being misled by Roth for so long.

Did anyone mention when Sonny dipped the bread in Clemenza's gravy in the kitchen scene?

Talk about a "little" moment. Very subtle. Very typical. Very Italian. If I ever got the chance to Q&A James Caan I'd ask him if that was scripted or if he improvised it.

Yes, when Sonny dips some bread in the SAUCE has been posted before. But, it is a nice touch. how many times did I do that when my mother was making the SAUCE!

In the novel and in a deleted scene, he does the same with his mother's peppers.

Please. This is coming from someone who actually addresses people as y'all. But whatever you say, Tex .


Yes, after Vito was shot. They should have left that in. I remember in the novel it said that he made himself a "sloppy sandwich of fried peppers," or something like that. I don't have the book handy, though.

Most of my favourite moments seem to be involving Tom.
One that I like very much is of course from Part I, and that I don't ever see mentioned is when they are awaiting the call about which place Michael is going to meet Sollozzo at. They are discussing the 'meeting' and Tom stands behind Mike and he starts patting his back. Very feel-good like moment.
Followed by, or may have been before(?).. Tom getting a little worried about the situation and he shouts at little at Santino - "Sollozzo might not even be in the car Sonny!", in a very big brother kind of way.
Don't remember if those were mentioned but this huge favourite was. The scene between good ole' Pete and Mike talking about when he was fighting for their country in the war and he makes it clear that they were all proud of him.

- In the meeting after the killing of Santino. Tattaglia was saying that what guarantees he had that Don Corleone is not gonna try any act of vengeance. Barzini starts talking a Don Corleone rise his hands like "hey I got this" and Barzini stops talking.

- Don Vito's reaction when Tom tells him Luca Brasi wanted to see him at the wedding.

Sorry for my english

I always liked the part where Willie Cicci testifies in part 2. I guess it was his motions and his accent was just perfect for that part.

"You know what it means Senator" or something like that and he is always fidgeting and fixing his tie or suit.

They say in real life he was one weird cookie.

When Bonasera asks "How much shall I pay you?" Tom's movements afterwards, as if he's thinking "Jeez... Really?"

In II, Tom's hand gestures when he says to Geary about the dead whore: "It will be like she never existed."

The slicing of the Cuba cake; the symbolism is obvious but I love it.

In the last scene with Frankie and Hagen: Frankie's "See ya, Tom." That line feels SO real I'm sure it was improvised by Gazzo. I'm glad the editor left that moment in.

One of my favorite parts of GF II is Frank Pentangeli's recant in front of Congress.

"But it was lies...uh...everything"

When Luca walks down the long hallway to the bar to meet with tataglia and solozzo.

the look on vitos face when clemenza tosses the guns into vitos apartment in the flashback scenes.

The patented Robert Duvall grin when he hears Sonny boffing the maid of honor behind the closed door.

In the scene where Michael is hosting Geary and others in the Havana nightclub, Fredo asks if the guests want more drinks. Geary says, leeringly, "I'll try one of those red-headed Yolandas" [the showgirl we saw earlier]. If you run that scene very slowly, the camera pans onto Michael's face, and he's rolling his eyes as if to say, "Geez, doesn't this guy ever keep his dick in his pants?"

I'll watch for that next time TB. But what struck me about that scene was how quickly Fredo learned about the local alcohol culture since, apparently, he had never been to Havana.

The flashback scene in Godfather 2 when Michael, Sonny, Fredo, Connie, Tom, Carlo, ect are at the during Christmas time. I always thought that scene was to show the "good times" and how almost everyone in that room was later killed by somebody else in the same room.

Two of my favorites:

Outside the hospital with Michael and Enzo. Michael poses Enzo up to look like a gangster and together they wait. A far away shot near the street shows Michael in the light and Enzo in the shadows, looking like a silhouetted gangster. He could've been the reincarnation of Luca Brasi for all those guys in the car knew. For a few moments, he wasn't a guy who made pastries and cakes for a living. Brilliant stroke of fortune for Michael that Enzo turned up when he did; Enzo's bravery to stand with Michael was hardly matched anywhere else.

In Cuba where Michael and Fredo are watching the Superman show and Fredo effectively rats himself out by talking about Johnny Ola. The look on Michael's face, as though someone just pulled the world out from underneath him was powerful. The very moment he identified the traitor...and it broke his heart.

Having taken another close look at the meeting scene with Senator Geary in Michael's office, in Godfather II, there are actually several subtle, nuanced gestures and expressions there that deserve special mention (most of which I don't think have come up yet):

* As the meeting is getting started, Michael and Senator Geary stand up as a gesture of courtesy while Tom enters the room. Michael remains standing until Geary begins to sit back down, at one point hesitating while he waits for Geary to take his seat. Michael may be a gangster, but he's a cultured gangster.

* As Geary begins his spiel, i.e. "Now my sources tell me that you plan to make a move against the Tropigala...", there's a very telling exchange of glances between Michael and Tom. Michael seems to be silently asking Tom, 'How does he know about this?', while Tom's sheepish look responds, 'Beats me. I'm as surprised as you are.'

* There are a couple of instances in which Tom watches Geary with suspicion as Geary speaks: the first while Geary is dictating the terms of his intended extortion; the second as Geary utters his ethnic slur about "oily hair and silk suits".

* The cold, stony "game face" that Michael presents to Geary as he's being shaken down and insulted; never betraying a bit about what he might be feeling at the moment.

* As Geary stands up, uttering: "OK, some people have to play little games. You play yours", he takes the little cast iron replica of a cannon that's sitting on Michael's desk, and points it straight at Michael. Michael notices, but does not show any reaction.

* While Geary becomes more belligerent and mean-spirited as he delivers his ultimatum, Michael's demeanor begins to shift. He begins to rock slightly in his chair, almost as if he's bobbing his head. By the time he replies, "Senator, you can have my answer now if you like. My offer is this: Nothing...", the chair is practically vibrating with Michael's cocky, arrogant energy. There is an expression of cold, controlled rage on his face as he dictates his own terms to the senator, his piercing black eyes unblinking. This is a cobra preparing to strike its prey.

* As Geary walks out the door, there is one more telling exchange of glances between Michael and Tom. Michael's expression is one of disgust; Tom's is one of contrition and embarrassment.

Not only are these some of my favorite scenes of Godfather II, the entire scene is one of my favorite scenes.

~ Q

What I also like about that scene is as Geary exits the room, he's a bit surprised the wives had been sitting out there the entire time.

The look on Capt. McCluskey face the moment Sollozzo is shot, McCluskey knows what is coming next..

One of my favorite scenes. The Godfather Movie Meme

Look the FBI guys promised me a deal. So I made up a lot of stuff about MICHAEL Corleone 'cause that's what they wanted -- but it was all lies -- uh -- everything. And I kept saying -- MICHAEL Corleone did this and MICHAEL Corleone did that -- .uh -- so I said yea sure, why not- Frankie Five Angels

lol i find this hilarous, he was about to sell out for his own life. He saw his brother and was reminded of Omerta. He knew he couldnt break the oath or his family in Sicily would be killed

Michael shoots him in the neck, and McCluskey has this look on his face that seems to say "I'm going to die with this fucking piece of veal caught in my throat, and it's not even the best in the city!"

Michael popping pills on the train in !!... the first sign that the stress is getting to him and that his body is starting to break down.

Or his nerve. I bet the pills were Miltown, the universal tranquilizer of the Fifties.

Another little moment: During the New Year's Eve party at the Capri in Havana, Geary gets a lascivious grin on his puss and says, "I'll try one of those red-headed Yolandas." If you run the DVD on slo-mo, you can see Michael rolling his eyes as if to say, "There he goes again--thinking with his dick. Didn't he learn anything from that brothel murder?"

There are two scenes for me. One is between Vito and Bonasera after Vito leaves his desk, stands in front of Bonasera and Bonasera says "Be my friend". Then Vito looks at the floor and kind of sways a little. It reminds me of two kids (or lovers) who are trying to make up.

The other is at the restaurant when the waiter is uncorking the bottle of wine. Sollozzo face is an expression of impatience and a little irritation.

Michael has a similar expression in the Moe Green meeting when Moe says the chef will cook for him special and the dancers will kick his teeth in.

It's a big moment for the plot, but the focus on Michaels face when he realizes that it was Fredo who set him up, the complete shock and disbelief he got has to be one of the better expression I've ever seen.

Then there is the look on Kay's face after the attempted assassination in the bedroom...the scene where she is holding Mary, sitting on a sofa, and glaring at Michael.

Right, dt. If looks could kill, Michael would have been dead in that scene. That's probably when Kay decided to have the abortion.

Speaking of looks, I love the exasperated look that Clemenza gives Tessio (along with the table taps and hand wave) when Vito tries to convince them not to pay Fanucci the $200.

Yes W, I to thought Clemenza's hand wave was one of the best gestures in the film.

In that wonderfully acted scene when Michael and Fredo have their drink in Havana: Fredo is on the verge of intimacy. He says, "Sometimes I wish I would have married a woman like Kay...be more like..." We're waiting for Fredo to say, "...like you." Instead, he says, "...like Pop." He's holding Michael's wrist, but then he jerks it away and says, angrily, "Why didn't we spend time like this before?" Cazale's triumph.

Yes TB, I think Fredo is having a "what might have been" moment.

I also get a chuckle out of Fredo trying to figure out what banana daiquri is in Spanish.

But before Fredo yanks his hand away, he tips off Michael that he's disgruntled, talking about how he was mad at Michael - he doesn't say why at that point, but it's certainly elaborated further in the boat house scene.

Then you see Michael cooly and methodically tell Fredo that there will be an assassination attempt that night, and that Fredo is behind it. You certainly see contrast in the brothers - Michael is calm and collected, whereas Fredo is noticeably nervous in his speech, especially after Michael tells Fredo he's already made his move on Roth.

Three more, after watching the wedding scene (for about the 2000th time):

--Sonny has Paulie in tow when he confronts the FBI guys outside the compound. After Sonny spits on the FBI guy's credentials and turns, Paulie surreptitiously give the FBI guy the cornudo--the "horns" two-finger gesture of contempt.

--Sonny's wife, Sandra, is showing, with her hands, how big Sonny's dick is. She has an almost prideful look on her face. But, just behind her, Sonny is gesturing to Lucy Mancini to follow him for their "assignation." Sandra spots them, and suddenly looks crestfallen--"there he goes again"--as if acknowledging that Sonny's massive organ is not her exclusive property.

--Kay's all excited that Michael knows Johnny Fontaine, and seems eager to know how his father helped Johnny in his career. But, as Michael describes how "Luca Brazi held a gun to the bandleader's head and assured and my father assured him that either his brains or his signature would rest on the contract," her expression slowly shifts from eagerness, to bafflement, to shock.

- I like when in g2, when Connie orders Neri to get a drink for Merle" AL, WOULD YOU GET HIM A DRINK, PLEASE" Neri has this look on his face that's a combination of ' what am I, a bartender?' and ' You're lucky your the boss's sister.'
- in a deleted scene, Neri is talking to Klingman and Klingman says"who do you think you're talking to?' Neri has this look on his face as if to say 'You don't know who you're talking to.'
- A little after that when Klingman runs into the ballroom to get away from Neri, he makes the mistake of throwing a chair at Neri, Neri picks it up and in one of the few shows of emotion for him, picks it up and is getting ready to take Klingmans head off has a VERY ticked off look on his face.

Notice in the Klingman scene that the Casino's security personnel (they may have been police) step out of Neri's way as he pursuing Klingman.

Probably mentioned before, but here goes:

GFI: Michael hugging his brothers good bye before the Sollozo assassination.

GFII: Michael giving Fredo The Kiss while in Cuba at the New Year's Eve party.

As soon as Neri smacked Klingman in the head, you can see them look away, as if to say " we didn't see anything " and when Klingman and Neri start walking they take a couple of steps back and don't want to even appear to get involved. That sends a message that they knew who Neri was and the only one who didn't have a clue was Klingman.

For me , there's at least a couple. Immediately following the scene where Michael states how he'll murder Sollozzo, Clemenza starts to laugh, followed by Sonny, and then Tessio. However, the look on Tom's face is one of disgust at their laughing. The other moment is at the restaurant as the waiter is uncorking the wine bottle. Sollozzo's impatient expression is for all to see.

After Michael shoots Solozzo he quickly turns and fires a shot into the front of McCluskey's neck. McCluskey gasps for air while tugging at his handkerchief to loosen it in an attempt to search for the wound. In that brief period of time between the shot in the neck and McCluskey crashing downward into the table Michael has this look of complete horror/disbelief but I think there was something underneath it all that made him choose against that final kill shot. He wanted McCluskey to look into his eyes and think about why as he went. Absolutely brutal scene. best mob hit ever portrayed in film in my opinion.

You have to answer for Santino, Carlo.

That final scene in the third film rescues many of the film's flaws. Michael remembering his women before he dies; underscoring the life he could have lead, and the utter futility of his quest to keep his family safe, from the moment he put a bullet in Sollozza's head until Mary's murder.

Here is Michael Corleone, a man gifted with great intellect, willpower, and a capacity for nearly endless ruthlessness, whose every action from the moment he put a bullet in Virgil Sollozzo's head had been to keep his family safe, to guarantee its fortunes and survival. And now, at the end of his life, he revisits his failures; the first wife that was murdered by a bomb meant for him, a second wife who grew to hate and fear him and killed his unborn child to escape him, and a daughter who adored and worshiped him, sharing Apollonia's fate in dying in his place.

I just watched the trilogy last weekend, and something stirred me about that final scene in III. It now strikes me that Don Ciccio's death presages Michael's in some way; both men are ultimately killed for their failures; Ciccio for not catching Young Vito, and Michael for not keep safe that which his father had built from the moment he fled from Don Ciccio. A closing of the circle, if you will.

... Add to that the fact that in the flashbacks we really do see Pacino 20 years younger and effectively more innocent. That's something that a film that generates its past in ex post facto fashion cannot accomplish.

(The post-Hitchcock Psycho II is something like that, a middling film redeemed by its glorious heritage.)

Another marvel:

Immediately after the Tahoe shooting, when Kay is holding Mary close, Michael's face shows embarrassment, humiliation, frustration--he can't look Kay in the eye after that shooting. Kay, meanwhile, is beaming anger at Michael--"if looks could kill." I bet that was when she decided to have an abortion.

- Vito (Robert de Niro) when he perfectly impersonates the gestures of Vito (Marlon Brando) (scratching his cheek and doing this "I don't know, sure" gesture)

- When Vito delivers food in little Italy you see for a tiny second how some thief steals a fruit out of a lady's bag

- The small embarassing gesture by Antonio when Mo Green tells Michael he banged the bar girls

Completely agree TB. That was a very well acted scene.

One little thing I always liked is when McCluskey asks, "How's the Italian food in this restaurant?", like he's not familiar enough with it to ask about a specific dish. Being half-Italian, I never heard that exactly, but I remember my parents talking about "Chinese food" like it was all one thing, and saying they were going to "The Chinese Joint," like that was the restaurant's name.

I like the point when Michael is standing in front of the hospital and lights his cigarette....He looks at the lighter, then shuts it...Many have said that this was a comment that his hands were still, as opposed to Enzo, who was shaking like a leaf. I think that when he shut the lighter (and killing the flame) it was the moment that his old life was over. The flame was a metaphor for his past life.....

When Michael and Fredo are having their drinks in Havana, Michael tells Fredo about the plot to assassinate him. Fredo asks, "Who?" Michael replies "Roth." But he has a look (and sound) of disgust when he says, "Rrrrothhhh," as if he's reproaching himself for having fallen for Roth's promises about Havana--and nearly getting himself and Kay killed as a result.

Also in that scene TB I like when Michael says of Roth: "He acts like I'm his son -- his successor -- but he thinks he's gonna live forever ...".

Another one I like is one from The Godfather II after Vito gets home just after he has shot Fanucci and meets with his family and sits down on the steps outside their home and picks little Michael up and he says to the baby in Italian "Michael, your father loves you very much" and the baby grabs his father's hand.

That's a golden moment right there, and frankly amazing how they got the luck in getting that in that scene.

I quite like the comission hit scene in GF3.

The scene with Vincent Mancini and the assasin's in the beginning with Bridget Fonda is decent too, although abit Steven Seagal-esque chopping going on from Andy Garcia lol.

Im going to do something to convince you, don't make any sudden movements.

BOOM !

One of my favorite little moments is in the GF2 Flashback scene at the end. When Michael tells Sonny that he enlisted and Sonny says "Nice, real nice.....break your fathers heart on his birthday." And with that Fredo begins to extend his hand out to Mike and says "That's swell! Congratulations!" and Sonny pushes Fredos arm in an attempt to stop him from shaking hands with Michael. Great little scene.

I immediately think of the banana daiquiri scene when Fredo asks Michael why they never spent time together. Another example of Fredo trying to connect with Michael and unfortunately failing.

Yes. And another memorable moment in that scene: Fredo says, "Sometimes I wish I could have married a woman like Kay...be more like..." He hesitates. We're waiting for him to say, "...you." Instead, he says, "...Pop." He still can't bring himself to get over his resentment of Michael.

That banana daiquiri scene may have been Cazale's finest performance in GFII.

My grandfather passed when I was 7 but I remember him always being a terrific dancer. Many old home movies confirm my recollection. Anyway, the opening scene featuring Connie's wedding reception is filled with a lot of family memories.

When Tessio is dancing with a young girl and she is standing on top his feet is one of my favorite little moments. My grandfather did that with my sister as well as many cousins.

Also, anytime a wine bottle with the basket bottom is shown is a favorite moment. So many little things are so poignant every time I watch these films.

Another little gem: When Michael takes his family to Sicily for a visit (and for revenge against Don Ciccio and his men), they're all sitting at a table, outdoors. Little Sonny is being kitchy-cooed by an old Sicilian lady--and he rolls his eyes.

Mama Corleone is in the kitchen cooking what looks like sausage & peppers. Sonny comes in and tells her that pop was hurt today. Mama asks if they killed his father to which Sonny replies he didn't know.

Mama says she is going to change just in case they can go see him in the hospital. Sonny grabs a hunk of bread and scoops up some of what mama was frying.

Sonny goes to his father's office and can't seem to bring himself to sit in his father's chair behind the desk.

He then pulls up another chair to the edge of the desk and begins making the necessary phone calls after retrieving an address book from the safe.

Such a little thing that spoke so loudly; He couldn't sit in his father's chair. Also, who among us has never scooped something tasty out of a pan on the stove with a piece of bread?!? A couple of my favorite little moments.

Agreed Mark. Definitely one of my favorite little moments. While there is no actual dialogue in that scene, it still speaks volumes!

Having been in the newspaper business, one of my favorite little moments is the aftermath of Michael killing Sollozzo & McCluskey.

The montage segment of newspaper presses rolling, front page photos and multiple issues featuring headlines and stories is definitely one of my favorite little moments. I would love to own the props of those newspapers.

This is the part of the movie directed by George Lucas with Carmine Coppolla playing piano as the score. Great stuff.

DC - glad to see you back!

I noticed last night that after the Corleone's hit Bruno Tattaglia and Santino is feeling more confident, he is sitting in Vito's chair. I think that when Vito's fate was uncertain, there was a bit of a "Post 9-11" feeling at The Corleone Mall?

However, after Santino began his offensive, he gained the necessary fortitude and thought himself "worthy" to be behind the desk. If anything, to show everybody he was firmly in charge and taking care of things.

At Connie's wedding, Sonny's wife Sandra is sitting with other women, spreading her hands to indicate the length of Sonny's dick. They all have a good laugh over it. Then the camera pans to Sandra's face. She's pouting, because Sonny is making arrangements for a quick one with Lucy Mancini.

The hospital scene with Mike and Enzo the baker, guarding out front, without guns.

At the end of Part II during Vito's surprise birthday party flashback, Sonny is angry about Michael's enlistment. It results in a physical altercation quickly broken up by Tessio.

One of Sonny's twin daughters says, "Mommy, daddy is fighting again!!"

When I was in Italy in the mid 1980's, they were still using the same black & white death notices posted on walls and utility poles seen throughout Michael's stay in Sicily.

On the left side of the pic are the death notices posted to the concrete structure.

Right after the Tahoe shooting, when Kay is clutching little Mary, Michael gives her guilty looks. Kay stares daggers at Michael. That moment definitely was the beginning of the end for their marriage.

My thoughts exactly TB.

After Vito is let go from Genco grocery job he comes home, gives pear to his wife and sits down to his soup. You can see the burden on him, young father now without job just getting by before losing job, then you hear the loud 2 knocks from Clemenzza at the window and almost out loud you say, "and then opportunity knocked"

Vito's wife: "Oh, a pear. How nice. Last time it was an apple. The time before that it was an orange. What happened this time Vito? Don't tell me; you got fired, right?" You know Vito, I could have stayed in Sicily and married Don Ciccio's son. Madonne!

One favorite moment is when Michael gets Carlo to admit that Don Barzini used him to set up Sonny. If Carlo had stuck by his guns and not admitted to it he may have survived the encounter.and made it back home. He needed Carlo to admit to it before he could kill him.

When Michael introduces Tom to Kay, Tom says "Your father's been asking for you."

I think that the lack of continuity when referring to family relationships is just inattention by Puzo and Coppola.

Lots of my fave parts have been mentioned but here are a few of mine

-The look of despair and resignation on the face of Tessio when he's been rumbled, in that split second, he knows his life is over - top, top acting. RIP Abe. Plus, the sad expression on Tom's face in the same scene, things have changed and will never be the same again, and when he tells Tessio that Mike understands it was only business, it's genuine.
- The left-handed response of Michael to McCluskey's handshake, and the expression of nonchalance that neither McCluskey or Sollozzo could see.
- The way Bruno's cigarette hangs from his mouth effortlessly while he co-participates in the murder of Luca
- The way Sonny tells Carlo to never touch his sister again through exhaustion.
- The Don's complete indifference to Fredo when he enters his bedroom alone.
- Tom's voice breaking with emotion when he tells the Don that Sonny is dead
- The very blatant smug expressions of Tattaglia and Barzini to each other in the meeting
- Carlo's little grin to himself when he gets in the car, thinking he has got away with it then... 'Hello Carlo'

Apologies for bumping this thread -- but watching the 1 again and I laughed at a scene that I'd never laughed at in prior viewings and that's when Michael goes to visit Kay in NYC and Clemenza sends some people with him. You see the two riding in the front seat and Michael sitting in the back with a look of horror or embarrassment on his face.

When Signor Vitelli pulls up his suspenders before performing the formal act of inviting Michael to meet his daughter.

When Bonasera finally says to Vito, "Be my friend...Godfather?" Vito kind of shrugs as if to say, "I dunno."

The change in demeanor when Tom tells Vito that Sonny is dead, is one of my favorite scenes. At first Vito shows his sorrow and grief, but almost immediately his whole expression changes. He composes himself and tells Tom that he wants no inquiries made and no acts of vengeance. It was like seeing two different people in the span of moments.

Yes, one of Brando's best scenes--the way he makes his face contort and recover. He does it again when he delivers Sonny's body to Bonasera: "Look how they massacred my boy."

Another little moment: At Connie's wedding, Barzini motions to one of his men to grab the film the photographer has just taken of him, then Barzini's face has a thoroughly disgusted look.

* The looks that Roth and Johnny Ola give each other when Michael doesn't confirm that he'll commit to the 2 million.

* During the "Superman" show, Michael glances at his bodyguard several times. After Fredo reveals he knew Johnny Ola, Michael glances at his bodyguard once more and signals the hit to him, and the bodyguard tips his hat.

* The entire Pentangeli and Hagen scene. Especially when Hagen says "It was once" (cue the music) about the Corleone family being like the Roman Empire.

The first two scenes I mentioned are favorites because no words are said yet a lot is happening. The Pentangeli and Hagen scene is a favorite moment because I think it's the saddest part of the series.

Nicely said, Buscetta.
Also in that Havana hotel room scene: After Roth finishes his soliloquy and heads for his bedroom, Johnny Ola gives Michael a condescending look, as if to say, "Take that, kid--you'll never be another Roth."

Watching the GF and II this weekend, I re-noticed somethings about Tom when he met with Woltz and then again in II.

When he meets with Woltz during dinner, Woltz engages in his hugely emotional tirade. Yet, Tom in the face of this verbal assault remains impassive and continues to devour his meal. Of course, Tom's passivity is understandable since, as the novel explains, the Don had never broken a promise and would not break his promise to his godson about obtaining for him the coveted role in Woltz's upcoming film. Duval played that scene perfectly. It is similar to the scene when Michael meets with Carlo near the end of the film. Michael is like the shark circling his prey; the shark fears nothing and there is no escape for his prey. In the same vein, Tom knows that Woltz's words cannot prevail against the Don's words and, even more so, the Don's will.

In II, there is the scene where Michael meets with Ola and excludes Tom from that meeting. The camera shows Tom's exit from the meeting as Tom feigns a smile and pleasing words about his being right outside if needed by Michael. The camera stays with Tom as he enters the enclosed vestibule where he clears out the kids who were seated there. Tom lingers for a few seconds as his demeanor portrays his absolute disappointment and even sadness at being excluded. Duvall played that scene masterfully.

Yes, indeed. Was there a single scene that Duvall didn't play perfectly/masterfully?

I'm sure this has been mentioned before, but...

...in the scene in Havana where Batista is meeting with the gringo businessmen and passing around the solid gold telefono, look carefully and you'll see the Senate lawyer, Questadt, sitting behind Roth. What was he doing there? If Michael had spotted him, he never would have fallen into that perjury trap at the Senate hearing later on. An alert poster many years ago found an earlier script treatment (there are many of them) in which Michael was to meet with Questadt in Cuba. Obviously it never made the final cut. So, why did FFC leave Questadt in that scene? Maybe he missed it.

So many to choose from, but my favorite has to be Pentangelli saying 'see ya Tom' with a perfect gesture of the arm at the end of the jail scene

Those little gestures are wonderful. Like Vito moving his right index finger from right to left to tell Tom to get Bonasera a drink. Or the little shrug he gives after Bonasera finally says, "Be my friend...Godfather."

One of my faves is the Havana nightclub with Michael, Fredo, Geary, Ola and the businessmen. Geary, ogling the gal in the floor show, says, "I'll try one of those red-headed Yolandas." The camera shifts to Michael's face. If you go through that moment frame by frame, you'll see Michael rolling his eyes as if to say, "There he goes again--thinking with his dick."

My little moment is in Sicily, when Michael inadvertently offends Signor Vitelli. After Michael apologises and makes his honourable intentions clear, Vitelli senses that the balance of power has changed. The way he stands up and ostentatiously puts on his suspenders makes me chuckle.

That scene is a marvel from start to finish.

After watching for the billionth time just now, I noticed Kay visibly emotional at Vito's funeral. Quite a ways from "Senators and presidents don't have men killed"....

So much great little moments mentionned already.

Here are some others I love. I don't think I've seen them yet.

- During the Johnny Fontane/Godfather meeting, when Vito says something like : " I want you to rest and in a few weeks ...", before he finishes his sentence, you see Sonny in the background startle. He is off focus but you then see him gesture to an off-camera Tom that it is in the bag for the singer-would-be-actor.

- Near the end of G1, Carlo enters the car and is greeted by Clemenza. Then, and it is beautiful : you ear a crow-Tom Hagen loosen his tie-immediately after, Clemenza garrots Carlo.

The tie loosening is an anodine move Tom does several time throughout the movie. Yet, it really comes across as the signal for Peter.
It is the vengence as planned by the father : lead by Michael, but with Sonny's godfather and closest brother taking part in it. Tom never attends the murders usually.

And if it is not ! It doesn't matter! The editing of the crow-the tie-the garrot is still awesome !

- The way Sonny stutters his apology to Tom after he criticized him for not being Sicilian. "Pop had Genco, look what I've got !"

We don't see Tom's reaction, but Sonny's face says it all. Besides, Hagen's silence is eloquent.

Much has been said about Hagen's competence as a wartime consigliere. But it is not what this is about in this scene. Sonny might instinctively be on to something, but he was more likely lashing out, being impulsive.
Sonny is all about family, above all else. As soon as the words are out, he realises he is telling his adoptive brother : "You are not one of us."
The way he immediately deflates is a nice touch and very in-character. He also hastily adds :" Mom prepared a lunch for us". Includes him back in the family.

- In G2, people have noted how Tom puts on a brave face when Michael says he won't take part in the Ola meeting, but then looks hurt when he lingers a few seconds in the hall. I've noticed for the first time that the scene of him politely asking the three young adults to leave the hall, mirrors the scene in G1 where he kindly prevents three small kids from running into Vito's office as he meets Luca Brazzi during the wedding.

It seems to me that it is a few seconds after talking to the kids, that the hurt fully registers and he takes the mesure of his fall since 1945.
During the wedding, he was involved in everything, his father's closest assistant. This time is over.

I wonder if they are supposed to be the same three kids 14 years later.

- When Michael comes back to the mall, after the hospital incident, one of the new button man, standing far away on the stairs (?) nods to the young Corleone out of respect. Michael just stood up to a corrupted policeman and paid the price.
QUESTION : The actor is too far away for me to tell, but is it supposed to be Al Neri ?

I know in the book he comes on board later, but in the movie ? Why not ? That would be cool.
What do you think ? Can anyone confirm ?

This was a very nice analysis. It looks to me, though, that the geography is a problem. I think that Carlo and then Michael-Tom are approaching almost from behind the car. I think Tom would have to signal the guy who put Carlo in the car, who would then relay the signal to Clemenza. That would be pretty clumsy.

Yeah, probably! 😄

It still makes for an interesting sequence. Crow-loosened tie-garrot. I love it.

I love the idea that Tom might have indulged in vengence just this once.
But it might not be to that degree.

Interesting, though: just after everyone loads Tessio into the car, Tom is watching and he straightens his tie. Same gesture.

Indeed !
Still. The ambiguity is what make people discuss the films all these years later !

Gestures matter. For example, Vito is always courteous and even kindly to Tom, and Tom never acts subserviently to him. But, Tom is still his subordinate. In the opening scene, as the camera starts to pan away from Bonasera's face, and Bonasera breaks down, Vito makes a snappy, ordering gesture to Tom to get Bonasera a drink. Later, at the Commission meeting, as Vito starts talking, he gestures to Tom to move his chair for him. Both beautiful touches.

Also, during the first scene with Bonasera, when Vito puts back the cat on the desk and stands up, Tom , who was sitting, stands up too, out of respect for his boss/father.
As for Sonny, who was already standing, he rectifies his position. These are small details, but it gives authenticity to the world and the time depicted..
An employee sitting while his boss stands would pass for a slouch.

I always wondered. Is it Tom or Sonny who gives the drink to Bonasera ?
Tom seems very likely, as he does a lot of little things during the wedding scenes.
But, when the camera leaves Bonasera, we see Sonny was the one closer to the alcohol.

Funny you should ask that as I was just about to comment without seeing the last message.

I have somehow always been under the impression that it is Tom who hands the drink (glass of water?) to Bonasera until a few years ago... Look at the hand gesture right after, that is totally Sonny!

Yes ! The hand gesture is very Sonny-esque ! One of the reason why I wonder.
And Sonny is standing near the table with alcohol.
Tom was sitting, so he might not have moved as quickly ?

From where the Don is sitting, I try to locate where the glass provider might be, but I lose my way each time.

Not that important, but it is fun to make deductions.

Couple others:

* Tom's face when Geary is speaking his opinion to Michael about Italians and their silk suits, etc.

* Tom speaking to Vincenzo in Italian

* Kay's outfits throughout the first two movies. She had some nice jackets (fun fact, in Portland, Oregon where I live one of her dresses is on display at a video rental store in town called Movie Madness)

Oh, yeah. Definitely, Tom's face during Geary's xenophobic attack. Silent but so eloquent.

Also, the silent (again!) exchange between the two brothers, once Geary exits and they are left alone. A complete conversation takes place, only with their eyes.
Al Pacino deserves his nomination in G2, but I wish Robert Duvall had been nominated again.

Speaking of Tom's face:
--The utter distaste he shows when Moe Greene blows into the hotel room with his "greetings."
--The patented Robert Duvall grin when Tom is listening to Sonny banging Lucy.

In Die Hard, Holly McClane berates Hans Gruber when she realises he was after the bonds all along by saying "After all your posturing, all your speeches... you're nothing but a common thief." He responded indignantly with "I'm an exceptional thief..."

Now imagine the scene between Michael and Kay early in part 3.
Kay: "Now that you're so respectable, you're more dangerous than ever. I preferred you when you were just a common Mafia hood."

There was nothing common about Michael's Mafia career. I wonder if the thought would have crossed his mind?

A bit different from the book:

Out in the garden, Hagen searched anxiously for Sonny Corleone. He told the waiting
Bonasera to be patient and went over to Michael Corleone and his girl friend. “Did you see
Sonny around?” he asked. Michael shook his head. Damn, Hagen thought, if Sonny was
screwing the maid of honor all this time there was going to be a mess of trouble. His wife, the
young girl’s family; it could be a disaster. Anxiously he hurried to the entrance through which he
had seen Sonny disappear almost a half hour ago.