I honestly felt nothing for Sheeran in the film (much like his daughter). But I DID feel for the Bufalino character, although he was every bit the murderer that Sheeran was. Watching him in prison got me to sympathize with him. But at the end of the day, if Bufalino had ordered the death of a loved one, I'd more than likely say fuck him, let him rot like Manson. The film was a great character study on aging with guilt and regret.
That paralleled Michael's end days in III. I have no sympathy for any of them., They should die horribly and alone shunned by all except the undertaker.
I give kudos to Scorsese for Peggy's story arch. Even as a child she was wary of not only Bufalino, but her father also. When she danced with Hoffa while looking over his shoulder at Provanzano, Bufalino, and Salerno, one flashed back to her looking at her dad as she stood in the doorway while the TV recounted Gallo's murder and when she asked her Dad why he hadn't yet called Jo Hoffa. I love that kind of continuity which was so manifest in the Trilogy.
Yes TB, the authentic-looking people in all those scenes is part of the continuity I refer to.
By the way, any thoughts about why Scorsese used such slow, slow motion especially in the wedding scene?
