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.