Great casting is one of the greatest strengths of GF and II (but not III)—and it extends to minor characters, and/or those who don’t have much screen time. Here are my favorite examples:

Joe Spinell as Willie Cicci: He’s barely glimpsed three times in GF, and gets only two lines at the end. He does better in II, but is still a minor character. But he’s so absolutely perfect—the quintessential street wise guy in looks, attitude and voice. His laugh about the family having “a lotta buffiz” at the Senate hearing is just priceless. People on this board love him.

Al Lettieri as Solozzo: Sol is a pivotal character because he sets up Vito’s shooting and is the catalyst for Michael’s entry into The Life. But, he doesn’t have much screen time, and is dispatched early. Still, Lettieri plays Solozzo for all he’s worth: businesslike, calm, assertive, forceful, sure of himself but never cocky—a man to be reckoned with. Lettieri (like Lee Marvin) combines a coarse face with a cultured voice to add menace to the role.

Saro Urzi as Sr. Vitelli: He makes the most of a small but important role—sitting chummily with Michael, Fab and Cal to ask about their hunt; exploding with insult and indignation over their mention of his daughter, then carefully weighing Michael’s sincerity, and ending with a warm smile. It’s a brilliant performance that also sets up Michael’s first showing of his coolness and command as a budding Don. It’s one of the best scenes in GF.

Sterling Hayden as Capt. McCluskey: Hayden, a major leading man of the Fifties, gets a bit part here, but he plays the corrupt, arrogant, bigoted Irish cop to perfection. I love the dismissive wave-off to his men when Tom shows up with the bodyguards at the hospital, and his constantly contorted, expressive, brutal face.

Alex Rocco as Moe Greene: A limited actor, Rocco gets a role that allows him to exploit one emotion: violent, unreasonable rage. He perfectly sets up Roth’s description of him in II (“headstrong, talking loud, saying stupid things”).

Gaston Moschin as Fanucci: The perfect small-time “Black Hander,” bluffing and intimidating neighborhood people—and looking faintly ridiculous with his white suit, hat, shoes and gold tooth. A man of substance without substance, just waiting to be felled by calm, cool, quiet—deadly—Vito Corleone.

Though they are not minor characters, I want to mention two others who stand out:

G.D. Spradlin as Sen. Geary: The embodiment of the arrogant, cocksure, self-entitled political satrap. Brimming with phony sincerity at Anthony’s party, then strutting his greed and bigotry in Michael’s office—then crumbling into pitiful helplessness at Fredo’s brothel. He’s totally convincing in each personality. (BTW: Spradlin, who held a law degree, once ran for Mayor of Oklahoma City.)

Dominic Chianese as Johnny Ola: He’s a toady in Roth’s presence, but a smooth, confident front man when representing Roth. You see right through his phony self-importance, as FFC intends. His pitying look at Michael after Roth’s soliloquy in his Havana hotel room is almost worth the price of admission.

Comments? Your candidates?

Agreed. Even those smaller roles elevate the film

Solozzo's evil look when he told Tom let me worry about Luca

McCluskey's violent shake of his head in suppressed rage and frustration just after his dismissive wave-off to his men because he has to return, what the Turk was paying him

Vito Scotti as Nazorine the Baker establishes the lighter, smaller side of the movie. Scotti was instantly recognizable at that point in his career through scores of appearances in TV and movies. His established persona told the audience instantly that they could breath now, nothing bad was going to happen in this scene,and by extension that the whole movie wasn't about killing.

Leopoldo Trieste as Signor Roberto: Carmela's friend, Anita Colombo's landlord arrogantly and contemptuously dismissing Vito and later asking for permission to sit in Vito's presence and reducing the rent

Amerigo Tot as Bussetta: Michael's silent but menacing bodyguard in Havana

Lenny Montana as Luca Brasi. A former pro-wrestler and one-time Mob enforcer, he was ideal - certainly looked the part - as a Mob enforcer.

All of the above.

Let's also not overlook the first face/voice we see in the Trilogy - Salvatore Corsitto as Bonasera. He starts things off with a powerful recitation of his daughter's tragedy and then wonderfully crumbles as Vito makes him do something he really didn't want to do - pledge fealty to the Don.

To me, for all of the criticisms of GFIII, the real difference between that and the first two films is the acting. There are plenty of loose ends and inconsistencies in GFII (that we're still debating today) but we still buy into the story because the acting is so perfect.

With poor performances small (Hamilton) and large (Wallach, Sofia), we don't extend the same grace to III.

I think Bruno Kirby did a great job as young Clemenza,especially since this was his first film role.

That look, over the coffee cup, could have won an Oscar by itself.

Tom Hagen was not a small role. However, one of his scenes that always sticks with me is when he's having dinner at Woltz's. Tom is completely disinterested in Woltz's words. They mean nothing to him. He continues to almost enthusiastically devour his meal while Woltz rants on.

Watch out or I'll kick your Sicilian ass right into the street.

That one stood out to me too. I noticed a slight smile on his face, he showed Woltz no respect at all, which I thought was out of character with the character he was portraying. Duvall is a great actor.

There is a deleted scene which helps explain Tom's behaviour. He sees a child actress (~12-13yo) in Woltz's house and it's clear that Woltz has molested her.

I read about that scene with the girl and her mother in his home, the story I read said it was based on a real child star. How true that is I don't know.

Yes indeed! How about the big grin--patented Robert Duvall grin--when he tries to summon Sonny to Vito's office during Connie's wedding while he's "attending" to the maid of honor against the door?

Here's a link to a memorable scene in "True Confessions," the most underappreciated movie of the Eighties, showing the Duvall grin and more:

https://www.youtube.com/watch?v=LEEeDOCn7SA

Great thread and I can't disagree with a single pick.

I'll add in Enzo the baker. Such a small role but so great, the honest and thoroughly loyal immigrant who stares down potential gunmen despite being terrified inside. His shakiness in the aftermath was a catalyst in Michael realizing his destiny.