The Godfather (1972) vs. The Godfather Part 2 (1974) vs. Goodfellas (1990): Part 2

<v Speaker 1>This is a podcast from Minute Media.
<v Speaker 2>Hey everybody, welcome back to the show You Can't Be
<v Speaker 2>Serious podcast. This is episode two of The Godfather Versus
<v Speaker 2>Godfather to Versus Goodfellas.
<v Speaker 1>To start it off today, I've got a joke for you.
<v Speaker 2>Okay, what kind of drink does the Godfather drink in
<v Speaker 2>the morning?
<v Speaker 1>I don't know. An al Pacino? Oh my god, that
<v Speaker 1>I know that. Our plan was to go into the
<v Speaker 1>year so funny, and then we do the Joe Fish
<v Speaker 1>a bit, but that's so not funny. I can't even
<v Speaker 1>honestly say that that was funny. That was terrible. First
<v Speaker 1>joke I've ever heard. And the al Pacino it's awful.
<v Speaker 1>So let's talk calf on Goodfellas.
<v Speaker 2>Okay, when Martin Scorsese and Nicholas pledge you get together
<v Speaker 2>to do Goodfellas, Martin Scorsese goes to his main man,
<v Speaker 2>his ace and the whole Robert de.
<v Speaker 1>Niro, you're talking to me, Well, I'm the only one here.
<v Speaker 2>Right, And he says, I want to do this movie
<v Speaker 2>called Goodfellas. I want you to be involved with it.
<v Speaker 2>Which part do you want? Do you want Jimmy or
<v Speaker 2>do you want Tommy? And Robert de Niro says, I
<v Speaker 2>want Jimmy, okay, And that was the piece that fell
<v Speaker 2>into place for the studio to back it, and they said, okay,
<v Speaker 2>we're going to all in on this movie. Al Pacino
<v Speaker 2>and John Malkovich were actually contacted about being Jimmy Conway. Okay,
<v Speaker 2>can you see John Malkovich playing this part?
<v Speaker 1>Oh you're talking about Tommy or talking about Jimmy Jimmy.
<v Speaker 1>I would see John Malkovich more as a Tommy character.
<v Speaker 2>So here's the interesting thing to me. So al Pacino says, no,
<v Speaker 2>I don't really want to do this. I don't want
<v Speaker 2>to be typecast as a gangster.
<v Speaker 1>So hold on, hold on, Francis, I'm on the phone
<v Speaker 1>with Marty. Could you could you just hide please? And
<v Speaker 1>trying to lie.
<v Speaker 2>Here exactly, and and so he ends up doing as
<v Speaker 2>we said god Father Part three and Dick Tracy, I say.
<v Speaker 3>You get behind me, we all profit, you challenge me,
<v Speaker 3>we all go.
<v Speaker 1>There was one the poll, one What's Done? One me
<v Speaker 1>the most charactered mobster in the world, Big Boy Caprice
<v Speaker 1>and Dick Tracy. I'm not sure which of those movies
<v Speaker 1>is worse, Godfather three or Dick Tracy. Now that is
<v Speaker 1>a matchup. We may have to now we don't have
<v Speaker 1>to investigate that Madonna might carry Dick Tracy over the
<v Speaker 1>edge on that one. Yeah, I don't know. Okay, So
<v Speaker 1>how do we end up with Joe Pesci? Obviously, Joe
<v Speaker 1>Pesci and de Niro and Scorsese have done Raging Bull together,
<v Speaker 1>So how do we get to Joe Peschi?
<v Speaker 2>Basically, once you get de Niro in place, the next
<v Speaker 2>guy you go after is Joe Pesci, right, and so
<v Speaker 2>as it calls me Bump and says, hey, we're getting
<v Speaker 2>the band back together, let's do this right.
<v Speaker 1>Well, what's interesting is at the beginning of the movie
<v Speaker 1>they have Tommy as basically the same age as Henry right,
<v Speaker 1>And that wasn't exactly right as far as reality goes.
<v Speaker 1>I mean, it was like, I think, I think there's
<v Speaker 1>a ten year age difference in him anyway, and Robert Niro,
<v Speaker 1>with no makeup at all, is supposed to be playing
<v Speaker 1>this twenty eight year old guy. I don't understand that, right.
<v Speaker 1>And then when they're adults, somehow Tommy is exceeded Jimmy
<v Speaker 1>in age and Henry Hill is still much younger. I mean,
<v Speaker 1>I don't mind if you don't do the ages the
<v Speaker 1>same as reality. But let's at least stay consistent within
<v Speaker 1>the movie. Jimmy appeared to have aged rather quickly. Yeah,
<v Speaker 1>by the end of the movie hard Apparently a sociopathic
<v Speaker 1>hard life will get you that kind of age. So
<v Speaker 1>Joe Pesh.
<v Speaker 2>She had done Raging Bull and then later he does
<v Speaker 2>Casino with Scorsese. He's kind of like Scorsese's second speed
<v Speaker 2>dial ractor, right, and.
<v Speaker 1>He hadn't He had kind of been absent from big
<v Speaker 1>movies from Raging Bowl up until Letho Weapon too. Let's
<v Speaker 1>talk about leth a weapon too. I got it. I
<v Speaker 1>know all those routine yes, sir, Yes, that's me. Leo
<v Speaker 1>gets whatever you need. Leo gets you get it.
<v Speaker 2>I use that all the time to break the ice
<v Speaker 2>when I meet people.
<v Speaker 3>You know, it's good.
<v Speaker 2>Leo gets is exactly the opposite of Tommy DeVito. Yeah,
<v Speaker 2>he's kind of a wiener. Okay, okay, It's just a scatterbox.
<v Speaker 1>And it's been both funny though, like funny like funny,
<v Speaker 1>how like why am I funny? I can make you
<v Speaker 1>laugh like I'm a clown, Like I amuse you? I mean,
<v Speaker 1>you said it, what did you mean, he's a big boy.
<v Speaker 1>He knows what he said. Leo gets is hilarious.
<v Speaker 2>Okay, So imagine we get Leo gets in Lethal Weapon
<v Speaker 2>Part two, we get Tommy and Goodfellas, and then next
<v Speaker 2>week get Harry from Home Alone. Shot what you have
<v Speaker 2>incredibly tough gangster booke, ended by two comedic roles, and
<v Speaker 2>he lights out in both.
<v Speaker 1>Of them, all of them, all of them, all of them.
<v Speaker 1>He nails it every single time it is. He is
<v Speaker 1>a great act.
<v Speaker 2>Now we got to talk about Henry. Yeah, Raleiota was
<v Speaker 2>the guy that they hired.
<v Speaker 1>Okay, but they didn't want it. Once again, the studio
<v Speaker 1>did not want it.
<v Speaker 2>Yeah, Raleiota talks about how they wanted anybody but him,
<v Speaker 2>and he said, in fact, I think they would have
<v Speaker 2>taken Eddie Murphy over. So they looked at Sean Penn,
<v Speaker 2>Alec Baldwin, Dal Kilmer okay, and Tom Cruise. Okay, I
<v Speaker 2>think that that's an interesting movie if you have Tom Cruise.
<v Speaker 1>In there, it's an interesting movie with any of those guys. Honestly, Yes,
<v Speaker 1>you know what movie caused Martin Scorsese to want to
<v Speaker 1>cast is it something wild? Yes, which we have talked
<v Speaker 1>about multiple times now. But Something Wild is the movie
<v Speaker 1>that they refer to in Dumb and Dumber about the
<v Speaker 1>guy who gets chased down and gets his throat slit,
<v Speaker 1>where Raleiota plays this kind of mobster esque psychopath. Yeah,
<v Speaker 1>he's awesome in that.
<v Speaker 2>You know the movie right before Goodfellas, he played shoeless
<v Speaker 2>Joe Jackson Field of Dreams.
<v Speaker 1>Oh, that's right, that was before that. Oh I love
<v Speaker 1>that movie.
<v Speaker 2>Yeah, you know, we talked last week Rayleiota. He had
<v Speaker 2>been discussed to be Batman, a joker yep and two
<v Speaker 2>face Harvey Dent right right, and he turned that down
<v Speaker 2>Tim Burton's Batman to do Good Fellas.
<v Speaker 1>The part of Karen, Karen, Why would you do that?
<v Speaker 1>Karen unsung hero of this movie. I mean, she delivers
<v Speaker 1>a performance beyond comparison. She's awesome. Lorrene Brocco, oh my gosh,
<v Speaker 1>nobody does that to me.
<v Speaker 3>Who the hell do you think you want?
<v Speaker 1>Frankie family or some kind of big shot. And you
<v Speaker 1>get a lot of folks who from this movie go
<v Speaker 1>on to do the sopranos. If you, of course have
<v Speaker 1>Lorraine Bracco, then you've got Michael Imprioli, who played Spider
<v Speaker 1>really small part but very memorable. Yeah, definitely. And then
<v Speaker 1>you also have Frank Vincent's who plays but the guy
<v Speaker 1>who's beaten on the trunk at the beginning of the movie. Yeah,
<v Speaker 1>Billy Batts.
<v Speaker 3>Billy Batts, Hey Tommy, if I'm gonna break your ball
<v Speaker 3>that days to go home and get you shineboughed Frank Vincent.
<v Speaker 1>So listen to this.
<v Speaker 2>So Karen ellen Barkin was looked at to play Karen.
<v Speaker 2>She's kind of in that mix.
<v Speaker 1>I could see that she can play she can play
<v Speaker 1>disgruntled housewife for sure.
<v Speaker 2>And then also Madonna, what are you looking at? Well, okay, listen, Madonna,
<v Speaker 2>the material girl was at the height of her powers
<v Speaker 2>in nineteen ninety.
<v Speaker 1>True.
<v Speaker 2>She instead goes on to do Dick Tracy with al
<v Speaker 2>Pacino and Warren Baby and that movie sucked. Yep, it
<v Speaker 2>was like Batman without Batman. That's all in the casting
<v Speaker 2>I've got for Goodfellas.
<v Speaker 1>Shall we talk about the movies. Let's talk about the movies. Okay,
<v Speaker 1>So The Godfather was shot in sixty two days. Okay,
<v Speaker 1>sixty two days. This is a three hour movie was
<v Speaker 1>shot in sixty two days. The entire time that they
<v Speaker 1>are filming this movie. Francis Ford Coppola thought he was
<v Speaker 1>going to be fired. Every day he lived in fear
<v Speaker 1>that they were going to come in and fire him.
<v Speaker 2>In fact, he's got people on his crew working against him.
<v Speaker 2>The assistant director is talking behind his back to the
<v Speaker 2>studio and they're like, yeah, the pictures that he's taken
<v Speaker 2>are beautiful, but they don't go together. Well, they don't
<v Speaker 2>cobble together. And so that guy at the studio, he
<v Speaker 2>gets another guy, like an independent editor. They piece him
<v Speaker 2>together and he realizes.
<v Speaker 1>This guy's sabotaging him, and so he.
<v Speaker 2>Goes to Copola, and then Copola looks around. He's like,
<v Speaker 2>you're gone.
<v Speaker 1>You're gone. You're gone, You're gone, You're gone.
<v Speaker 2>He like preemptive strike, fires anybody who maybe even partially
<v Speaker 2>against him. Wow, So he just goes on a firing spree.
<v Speaker 1>Well you mentioned it. I want to bring it up. Now.
<v Speaker 1>There's one scene that changed everybody's mind. Once they saw
<v Speaker 1>that scene, everybody relaxed and said, we got this. This
<v Speaker 1>is going to be a good movie. Okay, let's talk
<v Speaker 1>about it. It's the restaurant hit scene. Yes, it is
<v Speaker 1>the most pivotal scene in the storyline of the movie
<v Speaker 1>and it is one of the greatest scenes in cinematic history.
<v Speaker 1>Wowback that he is talking in his in his bible
<v Speaker 1>that he's written. He makes notes in here that the
<v Speaker 1>audience has to be on edge about the fact that
<v Speaker 1>he's not following the instructions that he was given. When
<v Speaker 1>he walks out of that, every human being in the theater,
<v Speaker 1>every guy sitting and watching this on TV, is like,
<v Speaker 1>drop the gun, Drop the gun, drop the gun. Dang gun. Yeah,
<v Speaker 1>finally he gets rid of it, right, he's he's messing
<v Speaker 1>it up, but it's that tension. And then he's struggling
<v Speaker 1>to find the gun. Right when he goes into the bathroom,
<v Speaker 1>he's struggling to find the gun. Whenever they're in the
<v Speaker 1>car beforehand he's talking to these guys, he's still got
<v Speaker 1>the swollen jaw. I mean, it is tension, tension, tension
<v Speaker 1>building up to the moment. And then you got this
<v Speaker 1>scene where Salazso is talking and it's it's almost like
<v Speaker 1>background noise, like it's nothing that is of any importance. Absolutely,
<v Speaker 1>and you have the slow pan in to Michael Corleone's
<v Speaker 1>face as he just his eyes are all over the
<v Speaker 1>place as he is you just you're you're with him,
<v Speaker 1>You're going, is he going to do it? Is he
<v Speaker 1>going to do it? Is he really going to go
<v Speaker 1>through with it? Because this is the White Night that
<v Speaker 1>is about to do a double homicide in open public. Yeah.
<v Speaker 1>Once they did that scene and they do the the
<v Speaker 1>death I mean talk about point blank stands up, bullet
<v Speaker 1>to the face, boom, shoots Captain McCluskey, once starts to
<v Speaker 1>choke on his food, shoots him again in the head,
<v Speaker 1>and he comes down like a bag of bricks on
<v Speaker 1>that table and out the door. He goes, so great, man,
<v Speaker 1>Oh my god, so great. Fantastic, fantastic scene.
<v Speaker 2>When he's reaching around in that old style toilet to
<v Speaker 2>try to find the gun. Yeah, it takes him a minute,
<v Speaker 2>and the whole time, I'm going, those guys are waiting
<v Speaker 2>for you. Let's go right, you know, and then he
<v Speaker 2>comes out. If this movie were made in the eighties,
<v Speaker 2>I feel like.
<v Speaker 1>He would have said some sort of tagline right here, like,
<v Speaker 1>you know, don't forget the parmesjan you know, yeah exactly,
<v Speaker 1>but you have that that cloud of red blood just
<v Speaker 1>blow out the back of it.
<v Speaker 2>It's very violent.
<v Speaker 1>He in the Bible needs to be a spray of
<v Speaker 1>blood everywhere. That's wonderful. Yeah, but you gotta get it
<v Speaker 1>up really close. It's like butter Bean, get all of
<v Speaker 1>your colored shirt. That scene is probably the second most
<v Speaker 1>important scene in the whole movie. Right, Okay, So Michael
<v Speaker 1>has just been beaten up, right, he's got the swollen jaw.
<v Speaker 1>He comes in, he is he has just had to
<v Speaker 1>save the life of his father. Right. He came to
<v Speaker 1>the hospital, nobody's there. He gets this poor guy who's
<v Speaker 1>coming with flowers to pretend like he's one of the
<v Speaker 1>mob members and look tough. Oh. There's so many great
<v Speaker 1>scenes in this but that moment where he walks in
<v Speaker 1>and Sonny is giving him a hard time. You can
<v Speaker 1>watch the transformation as they move through the room where
<v Speaker 1>Sonny is in power. He's standing up, he's taller, he's
<v Speaker 1>above everybody else. He's talking about doing this big hit.
<v Speaker 1>Tom is trying to tell him this is not personal,
<v Speaker 1>this is just business, and we got to do this right,
<v Speaker 1>and Sonny does want anything to do with it. And
<v Speaker 1>Michael just sits down and he's given a hard time
<v Speaker 1>by Sonny. He gets up there and he gets in
<v Speaker 1>his face, and you gotta get him close to the guy. Yeah,
<v Speaker 1>blood all over your brand new college suit, right. Yeah.
<v Speaker 1>And at that moment, Alpatuno puts his hands up and
<v Speaker 1>it's kind of like shoveling him off, and then everything
<v Speaker 1>switches and again we get this scene where Michael is
<v Speaker 1>sitting calmly in the chair and he says, no, here's
<v Speaker 1>what's gonna happen. We're gonna set it up where they
<v Speaker 1>give me a gun. I meet with them and I
<v Speaker 1>take them out and it's not personal, it's just business. Yeah,
<v Speaker 1>that's great. That is the moment that Sonny is not
<v Speaker 1>going to be the dawn. That is the moment that
<v Speaker 1>Michael takes charge. Great movie. Great movie, man, I love it. It
<v Speaker 1>transitions too.
<v Speaker 2>Unlike Fredo, he's got the balls to pull the gun
<v Speaker 2>and blow those guys away. Kill a police captain in
<v Speaker 2>the middle of a restaurant with people standing around looking
<v Speaker 2>at you.
<v Speaker 1>It's crooked cop. Yep. We got people on the payroll
<v Speaker 1>that work for the newspapers, right, and then Michael goes
<v Speaker 1>to Italy.
<v Speaker 2>That scene, the restaurant scene, Francis Foort Coppola like moved
<v Speaker 2>it up in the schedule because he was afraid he
<v Speaker 2>was going to get fired, and he needed to give
<v Speaker 2>them some action because everybody in the studio is like,
<v Speaker 2>when is this guy gonna do anything?
<v Speaker 1>Right?
<v Speaker 2>So his job is on the line. Albacino's job is
<v Speaker 2>on the line. And so then he sends this movie back.
<v Speaker 2>It was like moved up to like day five or
<v Speaker 2>something like that, and so they shot that very early
<v Speaker 2>to get the studio to back off.
<v Speaker 1>And let them do their thing. Por charm yep Okay.
<v Speaker 2>After he shoots the Turk and the police captain.
<v Speaker 1>He goes to Italy. So and he goes over to Italy.
<v Speaker 2>He's got these two bodyguards, one of them s Fabrizio,
<v Speaker 2>which we'll talk about here in.
<v Speaker 1>Just a second.
<v Speaker 2>But he meets Apollonia. Yes, flash back to our Purple
<v Speaker 2>Rain episode, right, who's the most beautiful girl in the village.
<v Speaker 2>Just to be clear, Prince gave Apollonia her name because
<v Speaker 2>of the Godfather.
<v Speaker 1>Also a throwback, the beginning scene of Purple Rain is
<v Speaker 1>inspired by the last scene of the godfok exactly.
<v Speaker 2>So he goes to Italy, marries this girl she's killed.
<v Speaker 2>I mean, he's in love, falls in love, he's going
<v Speaker 2>to start a family. He's settled in Sicily. How much
<v Speaker 2>does his life change if Apolonia is not killed.
<v Speaker 1>Substantially, Yeah, substantially, I would say. I mean, we know
<v Speaker 1>that he has a desire to go back because they
<v Speaker 1>have to tell him it's not safe for him to
<v Speaker 1>go back yet, right, right, And we know that there's
<v Speaker 1>going to be a callback for him because Sonny is
<v Speaker 1>ultimately going to get killed and Fredo has not got
<v Speaker 1>the chops to be the leader of the family, and
<v Speaker 1>so there's going to be that call. But if anybody
<v Speaker 1>else can step in, if if Tom could take over,
<v Speaker 1>If Tom takes over and Appoloni is still alive, I
<v Speaker 1>think he retires making olive oil. And is there Italian
<v Speaker 1>connection for the remainder of his day. I'm with you.
<v Speaker 2>I think he lives happily ever after with Apolloni and
<v Speaker 2>they have eighteen children.
<v Speaker 1>They live their life. Yeah.
<v Speaker 2>Now, then quick question, one little nitpicky thing I've got. Okay,
<v Speaker 2>he spends this however long in Italy? Yeah, long enough
<v Speaker 2>to meet court and marry a girl.
<v Speaker 1>Yeah, it's a quick turnaround.
<v Speaker 2>She gets killed whatever, right, she gets blown up by Fabrizio.
<v Speaker 1>Yeah.
<v Speaker 2>Which, there's a deleted scene where Michael gets his revenge. Yes,
<v Speaker 2>I wish we would have seen that because that would
<v Speaker 2>have been really cool. Yeah, he actually shot it for
<v Speaker 2>Godfather Part one.
<v Speaker 1>It was cut.
<v Speaker 2>They reshot it for Godfather Part two and it got
<v Speaker 2>cut there too. But all this time elapses. He goes
<v Speaker 2>back to the States. He's there for a year, and
<v Speaker 2>then he goes to see Kay and is like, hey,
<v Speaker 2>I'm back right boom, let's get married. He's a changed
<v Speaker 2>character at that point. I feel like that his marriage
<v Speaker 2>to Apollonia was because of love and desire. I feel
<v Speaker 2>like his marriage to Kay was because family is important,
<v Speaker 2>and so you are the one that I was with before.
<v Speaker 1>We will go. We will have a family, we will
<v Speaker 1>have children, and things will be as they are supposed
<v Speaker 1>to be.
<v Speaker 2>I mean, I get that. But Kay's attractive woman. She's
<v Speaker 2>got no boyfriend or whatever. I mean, she's not doing anything.
<v Speaker 2>She's just hanging out for five years guess So okay, I.
<v Speaker 1>Don't think it was that long. But yes, yeah, she
<v Speaker 1>loved him. She loved him, which makes the impact of
<v Speaker 1>the final scene, the final closing door, much more impactful.
<v Speaker 1>Let's talk about the it was an abortion, Michael, Oh
<v Speaker 1>my gosh, that's Godfather too. So that's the end of
<v Speaker 1>Godfather Part two, right, Kay is pregnant with Michael's boy. Yep.
<v Speaker 2>He goes back because she's had a miscarriage quote unquote
<v Speaker 2>a miscarriage.
<v Speaker 1>Yeah.
<v Speaker 2>And when he's talking to her, he's like, Okay, this
<v Speaker 2>is the way it's going to be, and she's like,
<v Speaker 2>you don't understand. It wasn't a miscarriage. It was an abortion. Right,
<v Speaker 2>I could not bring another son into this world.
<v Speaker 1>He is attributing her attitude and unpleasantness to the fact
<v Speaker 1>that she had lost the baby, and he's thinking, it's okay,
<v Speaker 1>it'll get better, don't worry. That's when she drops that bomb.
<v Speaker 1>That's a huge bomb too. Oh my gosh. And you
<v Speaker 1>know who came up with that idea, Talia Shire.
<v Speaker 3>It was an abortion, an abortion, Michael.
<v Speaker 1>Wow.
<v Speaker 2>She goes and she's like, you know what, miscarriage would hurt,
<v Speaker 2>but if she had an abortion, that would.
<v Speaker 1>Be an affront to Michael of a boy. Yep. And
<v Speaker 1>she was exactly right. It was an abortion.
<v Speaker 2>I know we're kind of dancing around here, but the
<v Speaker 2>end of Godfather Part one, yes, Michael goes after every
<v Speaker 2>head of the family. It was executed perfectly shoots mo
<v Speaker 2>Green in the eye. By the way, Moe Green, based
<v Speaker 2>on Buggsy c executes.
<v Speaker 1>Another failed attempt by Warren Batty Bugsy. That's exactly right.
<v Speaker 1>I don't know.
<v Speaker 2>The end of Godfather Part one is just awesome. The
<v Speaker 2>Christenine scene, Michael is at the church. They have all
<v Speaker 2>the heads of the families killed.
<v Speaker 1>So at the beginning of the movie, we've got all
<v Speaker 1>kinds of Italian going on, right, I mean, it's just
<v Speaker 1>Italian wedding, and so there's all kinds of it there.
<v Speaker 1>By the way, I remember seeing this for the first time.
<v Speaker 1>I don't know how old I was. I just remember
<v Speaker 1>that it was like on the satellite, you know. And
<v Speaker 1>you get that scene where Sonny follows the bride's maid upstairs.
<v Speaker 1>I'm watching with my brother and he's got a friend
<v Speaker 1>with him. As the first time that I have heard
<v Speaker 1>the F word used as an action verb, where I
<v Speaker 1>was like, oh, so that's what that word means. Okay,
<v Speaker 1>I got it now. But anyway you've got you're you're
<v Speaker 1>establishing some characters, and Michael doesn't show up. I mean,
<v Speaker 1>this is he is the main guy. Despite the fact
<v Speaker 1>that he was nominated for Supporting Actor instead of actor
<v Speaker 1>he is. This is it's his story. It's the story
<v Speaker 1>of Michael Corleone and his rise to power in the family.
<v Speaker 1>But it starts off with him telling Kay, that's my family,
<v Speaker 1>not me. After he tells the made him an offer
<v Speaker 1>he couldn't refuse. Story either his signature would be honest
<v Speaker 1>on the contract or his brains would be. That's when
<v Speaker 1>he says, that's my family, not me. And what we
<v Speaker 1>see is he doesn't want to be that. He wants
<v Speaker 1>to be the white Knight that is untouchable, and they
<v Speaker 1>treat him that way. No, they know he's a civilian.
<v Speaker 1>They won't do anything to him. Those are lines in
<v Speaker 1>the movie. Sure, and so we see him move from
<v Speaker 1>that point, not just to becoming a part of the family,
<v Speaker 1>but becoming the new godfather. Let me ask you this.
<v Speaker 1>Go ahead, let me ask you this.
<v Speaker 2>So we do see the rise of Michael. I feel
<v Speaker 2>like we are allowed to love the Vito Corleone character.
<v Speaker 2>He's wise, Yeah, he's controlled. Yeah, he's respected, he even
<v Speaker 2>seems kind he does Yeah, he's in control, unlike Sonny.
<v Speaker 1>Yeah. Now he does some things.
<v Speaker 2>I mean he ordered that horse's head cut off and
<v Speaker 2>put in that guy's bed.
<v Speaker 1>Real horse's head, by the way, real horses head, not
<v Speaker 1>a prop. They went to a dog food factory and
<v Speaker 1>got a horse's head, and they didn't tell the action
<v Speaker 1>that they were putting real horses in it. So the
<v Speaker 1>reaction that you get is genuine. Hey, one more thing
<v Speaker 1>about that scene. Yeah, that house that they filmed that
<v Speaker 1>scene in. Yeah, that house was the Fletch House. That's
<v Speaker 1>the Stanwick House in the movie Fletch. Okay, if you
<v Speaker 1>need a big, fancy looking house, here's the house that
<v Speaker 1>you can use.
<v Speaker 2>Also used in the Jerk with Steve Martin.
<v Speaker 1>It's gonna have a pool shaped like a heart rotating bed.
<v Speaker 1>I don't need let these pants real quick. I just
<v Speaker 1>got to say this. The Luca Brasi, yes character we
<v Speaker 1>talked about that was an actual probably hit man, but
<v Speaker 1>at least enforcer for the Columbo family. Yeah, so they
<v Speaker 1>had that scene where he interacts with Marlon Brandos. So
<v Speaker 1>you have arguably the best actor in the world at
<v Speaker 1>the time trying to do a scene with a guy
<v Speaker 1>who is a hit man for the mob, right, I mean,
<v Speaker 1>And so he's flubbing his lines and Brando doesn't even
<v Speaker 1>know how to react to this. Point right, So I
<v Speaker 1>know that at some point, Brando's like, okay, I need
<v Speaker 1>just a minute, and you told me a story about
<v Speaker 1>this go ahead.
<v Speaker 2>So in order to crack him up, Brando had written
<v Speaker 2>a note on his tongue that said fu. And when
<v Speaker 2>he's trying to say his lines, he's stuck by his
<v Speaker 2>tongue and you know, he's just looking at Brando with
<v Speaker 2>his tongue.
<v Speaker 1>Out, so the flub of the line becomes even more pronounced.
<v Speaker 1>So before all of this happens, Coppola catches this guy
<v Speaker 1>rehearsing his lines and he's just sitting there trying to
<v Speaker 1>say this one line that he's supposed to have, and
<v Speaker 1>he's like, this is true life right here, this is it.
<v Speaker 1>This guy is nervous, he wants to get what he's
<v Speaker 1>gonna say right, and so that's when he's like, turn
<v Speaker 1>on the cameras, let's get this in real life. So
<v Speaker 1>Luca Brazzi practicing him lines is actually the actor practicing
<v Speaker 1>his line. Don I am honored.
<v Speaker 3>I'm grateful that you have invited me to your daughter's wedding.
<v Speaker 1>On the day of your daughter's wedding. That's fantastic. And
<v Speaker 1>then he gets one of the most memorable references in
<v Speaker 1>all of movie history. It means Luca Brosi sleeps with
<v Speaker 1>the Fishes, right, and his death scene still, it's almost
<v Speaker 1>like he had seen some of those scenes in real
<v Speaker 1>life and knew how to bug out his eyes.
<v Speaker 2>Prepy away, I'm gonna stick my tongue out and bulge
<v Speaker 2>my eyes. You know, the sleep with the Fishes thing
<v Speaker 2>where they get the fish that's actually wrapped in a
<v Speaker 2>bulletproof vest.
<v Speaker 1>Every frame of this movie is like a piece of art.
<v Speaker 1>There's a tribute that you told me about it. He
<v Speaker 1>goes along with this.
<v Speaker 2>George Lucas referenced the Luca Brossei strangulation scene in Return
<v Speaker 2>of the Jedi. Jab of the Hut is killed by
<v Speaker 2>Princess Leah, and it's made to look like the Luca
<v Speaker 2>Rasse scene in The Godfather.
<v Speaker 1>I love it. I love it. So you get a
<v Speaker 1>reboot of the strangulation scene in Godfather too. Right right,
<v Speaker 1>pintangially goes to have a sit down, He gets rid
<v Speaker 1>of his weapons at their request, and then he starts
<v Speaker 1>to get choked out. Right, you know who's choking him out.
<v Speaker 1>That's danny Ilo, danny I l O Papa don't preach.
<v Speaker 1>Madonna's dad and Papa don't preach, right, and so he's
<v Speaker 1>he is not a guy who is in any way
<v Speaker 1>famous at this point. He I mean, it was literally
<v Speaker 1>supposed to be. He was an extra. He ad libbed
<v Speaker 1>this line, Michael Hello. That's true, Michael Corleone says hello.
<v Speaker 1>Some people say he ad libbed the line because he
<v Speaker 1>knew you got paid more if you had a speaking part.
<v Speaker 1>That's what I heard. But what the way he tells
<v Speaker 1>the story is he goes in and they're doing rehearsals
<v Speaker 1>and he's just into the moment and he just says
<v Speaker 1>Michael Corleone says, Hi. He's not supposed to say anything.
<v Speaker 1>He's just supposed to choke him out and that's the end.
<v Speaker 1>And he said Francis Ford Copple was like, what did
<v Speaker 1>you just say? He's like, I don't know, what did
<v Speaker 1>I just say? He's like, did you say Michael Corleone
<v Speaker 1>says hello. He's like, he goes four, couple goes keep it.
<v Speaker 1>I like it. Yeah, And that's how that line gets
<v Speaker 1>in there. It doesn't really make sense. Well, it's like
<v Speaker 1>it's like they're trying to throw the fire off of them,
<v Speaker 1>because obviously Michael Corleone is not the guy who's trying
<v Speaker 1>to kill him. But it's like, hey, it's it's trying
<v Speaker 1>to throw him off. I don't know why you'd try
<v Speaker 1>to throw off the guy that is dying. I don't
<v Speaker 1>get it. I don't really know. It's confusing. Okay, it's
<v Speaker 1>based on a true life event. This is like this
<v Speaker 1>literally happened to a gangster called Joe Gallo. It's same time,
<v Speaker 1>Crazy Joe Gallo, Crazy Joe Gallo. I've got some questions. Okay,
<v Speaker 1>here's my question about Godfather Part two. Michael is in
<v Speaker 1>his bedroom one night and he notices that the curtains
<v Speaker 1>are where my wife sleeps, where my children playing with
<v Speaker 1>their toys.
<v Speaker 2>Actually, Kay is the one who says, Michael, why are
<v Speaker 2>the curtains open? And he's like, h why are the
<v Speaker 2>curtains open? Boom hit the deck, boom machine guns. Okay,
<v Speaker 2>so obviously there's been a hit put on Michael by
<v Speaker 2>Hyman Roth.
<v Speaker 1>I get that now, we know now. Yes, the first
<v Speaker 1>time I saw it, I was like, who did this?
<v Speaker 1>Like what? I don't really get it.
<v Speaker 2>And we find out that Fredo is the one who
<v Speaker 2>betrayed him.
<v Speaker 1>We know that Fredo is talking to Jimmy Ola because
<v Speaker 1>he gets that phone call in the middle of the night.
<v Speaker 2>Yes, so he gave him some information, and Fredo thinks
<v Speaker 2>that they lied to him, so he's like, hey, you
<v Speaker 2>guys lied to me. So I don't think that Fredo
<v Speaker 2>knew it was a hit.
<v Speaker 1>The question is what did he give them, right? Did
<v Speaker 1>he open the curtains? I don't know. I don't know
<v Speaker 1>what he gave him. Maybe he just said he knows
<v Speaker 1>he'll be home this evening because they've got this big
<v Speaker 1>party planned and this is where his bedroom is. I
<v Speaker 1>don't know. We don't get that information on what Fredo
<v Speaker 1>told them that they used as information to put a
<v Speaker 1>hit on him.
<v Speaker 2>Okay, so we know that that Fredo gave some sort
<v Speaker 2>of information that led to the execution this hit.
<v Speaker 1>There are only two possibilities as far as Michael can tell, right,
<v Speaker 1>it's either potentially or it's Hymen froth right, right, and
<v Speaker 1>so he's got to figure out which, and he puts
<v Speaker 1>both of them to the test. And whenever Potentially has
<v Speaker 1>not been drinking, he's respectful, and there's he can just
<v Speaker 1>tell this isn't the guy, This is not the guy
<v Speaker 1>who would do this. This isn't it, And so then
<v Speaker 1>he goes to he goes to viitymen Roth and his
<v Speaker 1>little suburb home in Florida, and they're both talking to
<v Speaker 1>each other in such complimentary ways, and they are both
<v Speaker 1>just full of crap. You seem like a nice, intelligent
<v Speaker 1>young boy. Oh, your wisdom is very appreciated. Yeah, I
<v Speaker 1>mean it's they are talking away, which we as the
<v Speaker 1>observer for the first time, you're just thinking, Okay, there's
<v Speaker 1>mutual respect. No, it is Michael keeping his enemies closer.
<v Speaker 2>Yeah, I didn't catch that the first time I saw it.
<v Speaker 1>I'm like, what's going on here? These guys like each other,
<v Speaker 1>you know they're gonna team up, and Fredo completely gives
<v Speaker 1>himself away because when they do ultimately end up in Cuba,
<v Speaker 1>Johnny Olo comes over and Fredo immediately gets awkward and
<v Speaker 1>he's like, uh, yeah, we never met before, and then
<v Speaker 1>he's not wanted to talk. But as Fredo has more
<v Speaker 1>and more to drink, they go to this club where
<v Speaker 1>we the only information we have is that there's something
<v Speaker 1>large and inappropriate and the Cuban sex show, and Fredo's
<v Speaker 1>alcohol up mouth starts talking about how Johnny Olo knows
<v Speaker 1>the place, and then Hyman Roth would never go to
<v Speaker 1>a place like this. And it's at that point that
<v Speaker 1>Michael realizes it's Fredo who's betrayed him. So here's my
<v Speaker 1>question to you.
<v Speaker 2>Okay, Michael tells Tom Hagen, tell Fredo I know that
<v Speaker 2>he was misled, tell him to come home.
<v Speaker 1>It's okay.
<v Speaker 2>And me, as an observer, I'm like, Okay, Michael's bad,
<v Speaker 2>Michael's evil. He's not gonna kill Fredo. I mean, Fredo
<v Speaker 2>is a brother, He's a member of the family. And
<v Speaker 2>then he gives that look to his security guy and
<v Speaker 2>all he does is just gonna glance at him. And
<v Speaker 2>next thing you know, when they Fredo the fisherman out
<v Speaker 2>on the boat gets a bullet in the back of
<v Speaker 2>the head.
<v Speaker 1>Who sayings, hal Mary. Well, here's my question. Okay.
<v Speaker 2>So I love the cinematic way that this happens. Michael
<v Speaker 2>gives the death order with a glance.
<v Speaker 1>Yep.
<v Speaker 2>But I'm thinking practically to myself, if I'm the security guard,
<v Speaker 2>I'm like, was that the like.
<v Speaker 1>A week week? Like are you blinking at me? Or
<v Speaker 1>like should I really? You know, I just want to
<v Speaker 1>be sure the girls in the audience get it better
<v Speaker 1>than the boys, because the difference between a girl glance
<v Speaker 1>of hey, check this guy out and hey, this guy
<v Speaker 1>is really creeping me out is so minuscule. But they
<v Speaker 1>get it. Okay, Yeah, No, I don't know. I don't know.
<v Speaker 1>It's it's it's cinema. I guess it's executed. So well,
<v Speaker 1>here's the problem that I have. I don't have very
<v Speaker 1>many problems with either one of these movies, but they're
<v Speaker 1>down in Cuba and the guy who's supposed to be
<v Speaker 1>this covert hit man is dressed in a black turtleneck
<v Speaker 1>the entire time, like what it's standing out of a
<v Speaker 1>sore thumb. Everyone else is wearing white. You got a
<v Speaker 1>black turtleneck sweater and a black hat on. I have
<v Speaker 1>the perfect outfit for this job. So if you're not
<v Speaker 1>wanting to look like a mafia hit man, good job.
<v Speaker 2>Yes, let's talk about Robert de Niro's performance Real Quick
<v Speaker 2>and Godfather Part two.
<v Speaker 1>Okay, So, Robert de Niro was one of the guys
<v Speaker 1>that they really seriously considered for Sony that actually offered
<v Speaker 1>him the part of Paulie. Paulie's the guy who was
<v Speaker 1>sick the day that he was supposed to drive Vito
<v Speaker 1>Corleone around and video Corleone gets killed. Do you want
<v Speaker 1>to touch in the oranges right now? Yeah, let's talk
<v Speaker 1>about the oranges real quick, okay. Go. So anytime you see.
<v Speaker 2>An orange, or even the color orange in The Godfather,
<v Speaker 2>it signifies death. Somebody is about to get it.
<v Speaker 1>Okay.
<v Speaker 2>So, like Vito is in that market and he's buying fruit,
<v Speaker 2>He's like, hey, how much for the oranges, which he
<v Speaker 2>gets shot about seventy five times. You know, the way
<v Speaker 2>bullets are used in both of these movies.
<v Speaker 1>I got a problem with. Okay, Okay, this is a
<v Speaker 1>small nitpick. Vito Corleone gets.
<v Speaker 2>Shot a bunch twenty times, yeah, thirty times, and he
<v Speaker 2>recovers Okay.
<v Speaker 1>Yeah, he gets you know, this dog a little bit because.
<v Speaker 2>It got one in the throat, right, Sonny, when he's
<v Speaker 2>executed one hundred and fifty times.
<v Speaker 1>I can actually give you the exact figure there. The
<v Speaker 1>answer is it is a one hundred and forty seven
<v Speaker 1>squibs on Sonny. James CON's telling his story and he's like,
<v Speaker 1>this guy is putting the squibs on me. He tells me,
<v Speaker 1>I never put this many squibs on anybody. James CON's like,
<v Speaker 1>I don't think it's necessary that you should tell me that. Now.
<v Speaker 2>Yeah, that scene is ridiculous. Okay, so I'm gonna nitpick
<v Speaker 2>that sec what. Yes, So Sonny's execution is total junk. Okay,
<v Speaker 2>So here's the deal, all right, So this is the
<v Speaker 2>this is how Sonny's getting killed. Okay, here's the plan. Yeah,
<v Speaker 2>I'm gonna have a woman called Connie's house. Connie's gonna answer,
<v Speaker 2>She's gonna think her husband is cheating, so she's gonna
<v Speaker 2>yell at her husband and throw dishes all over the place,
<v Speaker 2>so her husband gets mad, beats her up.
<v Speaker 1>That's it, breaking all your spoil guinea break.
<v Speaker 2>That causes Sonny to get mad. He goes over and
<v Speaker 2>on the way he's unprotected, so they're.
<v Speaker 1>Gonna shoot him up a billion times. You think that's
<v Speaker 1>the most complicated plan in all those movies? Really? Yeah,
<v Speaker 1>So you don't have a problem with the scene itself.
<v Speaker 1>You just have a problem with the plan and how
<v Speaker 1>it gets executed. What about the fact that Polly's sick
<v Speaker 1>on the day that Veto's supposed to get hit, Well,
<v Speaker 1>how do they know that Fredo is going to drop
<v Speaker 1>his gun like a little pansy. That's a good question.
<v Speaker 1>Here's the other thing. When Sonny gets shot, he I
<v Speaker 1>mean he gets like twenty through the windshield, gets out,
<v Speaker 1>stands up, gets another forty yep. I mean it's hard
<v Speaker 1>to kill. And the whole time he's like, ugh, have
<v Speaker 1>you seen the scene in the Simpsons where Bart gets
<v Speaker 1>those gets snowballed? No? Oh, it's great because they match
<v Speaker 1>it shot for shot, like every twist and turn. Bart
<v Speaker 1>is doing it as these getting Pummel's classic.
<v Speaker 2>Okay, I wanted to mention Robert de Niro and Godfather
<v Speaker 2>Part two playing young Vito Coleone. Yes, almost his entire
<v Speaker 2>performance is in a foreign language. He didn't speak Sicilian,
<v Speaker 2>he didn't speak Italian at all, and so he not
<v Speaker 2>only had to learn a new language, but he had
<v Speaker 2>to learn how Marlon Brando would deliver those lines.
<v Speaker 1>Yeah, he changed his voice a little bit, a little bit,
<v Speaker 1>a little bit, so he actually spent several weeks in
<v Speaker 1>Sicily just trying to pick up the dialect, trying to
<v Speaker 1>pick up the language. But yeah, his entire performance is
<v Speaker 1>in a language that he does not speak. He has
<v Speaker 1>I think maybe four lines in the whole movie that
<v Speaker 1>are not in Italian and he still gets nominated for
<v Speaker 1>the Oscar. It's incredible. Yeah, I think that is my
<v Speaker 1>favorite part of that movie, to see the old twenties
<v Speaker 1>storyline of him coming to the New World, him becoming
<v Speaker 1>the Dawn, that whole execution, it's a great story. Again.
<v Speaker 1>Beautifully shot him on rooftops, watching him walk the stuff
<v Speaker 1>with the turning the light so that there's like this
<v Speaker 1>distraction and darkness, and then the towel wrapped around it.
<v Speaker 1>That was something they actually did to make it like
<v Speaker 1>a silencer so people wouldn't hear it and then it
<v Speaker 1>catches on fire. This is all real life stuff. It's incredible, right,
<v Speaker 1>Another fantastic movie. Man, I gotta say, ah, crap, I
<v Speaker 1>can't leave The Godfather too yet. The scene with Freedo
<v Speaker 1>where he's laying down in that chair while Michael's talking
<v Speaker 1>to him, I mean, could you make and could you
<v Speaker 1>make somebody look any weaker than I'm stuck in a
<v Speaker 1>chair that won't stop reclining. Yeah, it's fantastic anesthetic. Yeah,
<v Speaker 1>performance is brilliant. I'm not dumb. I'm smart. I can
<v Speaker 1>handle stuff. I'm don't like they say, no, I'm smart.
<v Speaker 1>You're my kid brother.
<v Speaker 2>Before we get off Godfather, the botta being that James
<v Speaker 2>Cohn says when he is acting like you're shooting Michael
<v Speaker 2>in the head.
<v Speaker 1>Yeah, what are you gonna do? Nice college boy? Eh?
<v Speaker 3>They want to get mixed up in the family business.
<v Speaker 3>And now you want to gun down a police captain
<v Speaker 3>one because he slept in her face a little bit.
<v Speaker 1>What do you think?
<v Speaker 3>This is the army where you shoot him a mile away.
<v Speaker 3>You gotta get him close like this. But I'm being
<v Speaker 3>your blow their brains all over your nice side of
<v Speaker 3>the league suit.
<v Speaker 2>That was a phrase that he heard from an acquaintance
<v Speaker 2>who was a mafia guy. Okay, so James kind adopted it,
<v Speaker 2>added it in and now it is widely accepted as
<v Speaker 2>mafia language by being yep, one.
<v Speaker 1>Of those ways that The Godfather affected the world. Let's
<v Speaker 1>talk about good Fellow. Let's talk about good Felas. There's
<v Speaker 1>an actor that we didn't talk about when we talked
<v Speaker 1>about casting. But there's one guy, so far as I
<v Speaker 1>can tell, one guy that was in all three of
<v Speaker 1>these movies. His name is Frank Severa. He played the
<v Speaker 1>part in Godfather iiO of the Friend of the Young
<v Speaker 1>Veto who works in the grocery store, whose dad owns
<v Speaker 1>the grocery store, who has the girlfriend who's the actress
<v Speaker 1>that they see get threatened and he cowers away. Yeah, yeah,
<v Speaker 1>about how beautiful a she is? Right, that's right, that's right.
<v Speaker 1>And so he had also been an extra. He had
<v Speaker 1>been like in some of the street scenes and Godfather
<v Speaker 1>one yes, gets the part in Godfather too. And then
<v Speaker 1>he's also Carbone in Goodfellas. He's the guy who gets
<v Speaker 1>frozen solid and takes three days to thaw out in
<v Speaker 1>good film. It's so sad. When I saw it, I'm like, no,
<v Speaker 1>they cook Carbone. He was one of the guys. It's terrible.
<v Speaker 1>So I looked him up. And interestingly, while he was
<v Speaker 1>developing the Carbone character, he lived next to some writers
<v Speaker 1>who were writing episodes of the Simpsons. You know that
<v Speaker 1>in the Simpsons they have the fat Tony character that's
<v Speaker 1>supposed to be like the Godfather character, and he's always
<v Speaker 1>got two guys with them. One of those two guys
<v Speaker 1>is named Louis. And if you look at Louis, he
<v Speaker 1>looks just like Carbone in Goodfellas. And so when the
<v Speaker 1>Simpsons episodes came out, Frank Severro was like, they stole
<v Speaker 1>my identity. I worked this character because it's not a
<v Speaker 1>real guy. He's not playing like an actual character. He
<v Speaker 1>is playing a part that he kind of created that
<v Speaker 1>was an amalgamation of several other guys, and so he
<v Speaker 1>sued him. Buddy lost. Oh okay, yeah, but if you
<v Speaker 1>look at Louis looks exactly like Frank Saverro out of Goodfellas, who,
<v Speaker 1>by the way, was born in Sicily, Italy, he could
<v Speaker 1>be a made man if he needed to be. By
<v Speaker 1>the way, I heard that they recently changed that rule
<v Speaker 1>the Mafia did. Well, I can see that.
<v Speaker 2>Because you don't have to be pure Sicilian. And it's like,
<v Speaker 2>do they have a rule book, like an actual rule book.
<v Speaker 1>Well, I mean there's a lot of there's. And this
<v Speaker 1>is important to the idea of these movies. They they
<v Speaker 1>made ceremonies that emphasized how important it was that you
<v Speaker 1>do follow their rules. They've got a I mean a
<v Speaker 1>part of their ceremony is you prick your finger, get
<v Speaker 1>the blood running in your finger, you wipe it on
<v Speaker 1>the picture of a saint, and then you burn the picture.
<v Speaker 1>And the idea is this is what should happen to
<v Speaker 1>you if you ever are a trader to the family.
<v Speaker 1>So it's important for goodfellas, right, the idea of goodfellows.
<v Speaker 1>And then the other one is this code of silence.
<v Speaker 1>You never talk about being a member of the mafia
<v Speaker 1>with anybody else. Henry Hill violates both of those rules.
<v Speaker 1>And always keep your mouth shut, never read on your friends.
<v Speaker 1>There you go.
<v Speaker 2>You know, we briefly touched on the how my funny
<v Speaker 2>thing with Joe Pesci. Yeah, that was an actual event
<v Speaker 2>that happened to Joe pet She when he was a waiter.
<v Speaker 2>He told a mobster that he was a funny guy,
<v Speaker 2>and the guy did not take that well, Oh my gosh,
<v Speaker 2>especially from a young Ish waiter, punk kid.
<v Speaker 1>Yeah, funny funny? How how am I funny?
<v Speaker 2>What a great scene that is it?
<v Speaker 1>It's probably the most memorable scene in the movie, definitely.
<v Speaker 1>It's just, you know, she's just funny. It's you know,
<v Speaker 1>the way you tell the story at everything funny? How
<v Speaker 1>I mean, what's funny about Tommy? Know?
<v Speaker 3>You got Anthony, he's a big boy, he knows what
<v Speaker 3>he said.
<v Speaker 1>What'd you say? Funny? How?
<v Speaker 3>What?
<v Speaker 1>Just you're funny? You mean, let me understand it because
<v Speaker 1>I know maybe E smambled stuff. Maybe, but I'm funny
<v Speaker 1>how I mean funny?
<v Speaker 3>Like I'm a clown.
<v Speaker 1>I amuse you, I make you laugh. I'm here to
<v Speaker 1>amuse you. What do you mean funny? Funny? How how
<v Speaker 1>am I funny? And it builds the tension and Tommy
<v Speaker 1>is kind of this driving worse of the danger that
<v Speaker 1>is always lurking over the shoulder of members of the mob. Right,
<v Speaker 1>you never know when your best friend is going to
<v Speaker 1>put an ice pick in the back of your head.
<v Speaker 1>And and Henry Hill said, this is the way I lived.
<v Speaker 1>I was constantly scared that Tommy was gonna do something
<v Speaker 1>and gonna go off. He was legitimately this kind of
<v Speaker 1>psychopathic character. And he wasn't a little guy, that's the thing. Yeah,
<v Speaker 1>he was a big, freaking like bare fist fighter big guy.
<v Speaker 1>So not only do you have the psycho killer, you've
<v Speaker 1>got one that can do the job quickly. Yeah, Henry
<v Speaker 1>Hill said, in watching Joe Pesci do the performance, he
<v Speaker 1>nailed the character by ninety percent of how the real
<v Speaker 1>guy was. Wow. Yeah.
<v Speaker 2>Do you know that this movie has three hundred and
<v Speaker 2>twenty one f wards or fward variations?
<v Speaker 1>What do you want to tell me now, tough guy,
<v Speaker 1>I said, I mean, what is doing?
<v Speaker 2>I want to tell you to go five money.
<v Speaker 1>There's so many wonderful ways to use the I mean, right.
<v Speaker 1>You know, as of twenty twenty, it is number fifteen
<v Speaker 1>on the list. Wow.
<v Speaker 2>Martin Squisese bested himself with the Wolf of Wall Street
<v Speaker 2>and apparently it has more f words.
<v Speaker 1>So things that happened in the movie that happen in
<v Speaker 1>real life. Yeah, you can. You can probably guess. I mean,
<v Speaker 1>if you're watching it and you're going, oh my gosh, this,
<v Speaker 1>the more crazy the scene is, the more likely that
<v Speaker 1>it happened. For example, the scene with Spider this is
<v Speaker 1>true life. Like Tommy DeSimone really killed a guy for saying,
<v Speaker 1>go f yourself, right, right, I mean it was, and
<v Speaker 1>it was after doing the shooting at him, after Tommy
<v Speaker 1>had shot him in the foot, shot him in the foot.
<v Speaker 1>Days later, comes back. He's a little upset because he's
<v Speaker 1>in a cast, right, and so Tommy's busting his balls again,
<v Speaker 1>and so he's like, you know what, go f yourself.
<v Speaker 1>And the guys who are sitting around Tommy You're like, oh,
<v Speaker 1>and they still to bust his balls. A little bit too,
<v Speaker 1>and that's when he pulls out his gun and blows
<v Speaker 1>the guy away. Incredible. So when Michael Imperioli perform the scene,
<v Speaker 1>you know when he gets shot on the chest, he's
<v Speaker 1>got these drinks on him and he goes flying back. Yeah,
<v Speaker 1>well he actually sliced his hand open on the glass.
<v Speaker 1>Continue to shoot the scene, finished it out lying there
<v Speaker 1>in both fake blood and real blood, got all the
<v Speaker 1>squibs gone, and his real bleeding hand. And so once
<v Speaker 1>the scene is done, they're like, oh, crap, that's a
<v Speaker 1>bad cut. We need to take you to the hospital.
<v Speaker 1>They rush him over to the hospital. He's at the er.
<v Speaker 1>The er is like ah, and they get him in
<v Speaker 1>there and they start working on his hand, and then
<v Speaker 1>they start to try to work on his chest and
<v Speaker 1>they're like no, no, no, no, that's these are squibs. This is
<v Speaker 1>this isn't real where we're actors. This is a movie.
<v Speaker 1>And they're like, oh, go back in the waiting room. Ah,
<v Speaker 1>that's funny. Yeah.
<v Speaker 2>I want to talk about the beginning of Goodfellas. Okay,
<v Speaker 2>Mark Scsese does a couple of interesting creative choices, I think. Okay,
<v Speaker 2>so number one, you start off with the billy bats scene.
<v Speaker 1>Middle of the movie. Well, like now, I'm saying, the
<v Speaker 1>middle of the story starts the beginning of that. That's right.
<v Speaker 2>Yes, So they're just driving and you hear this banging around.
<v Speaker 2>So they pull over, open the trunk and there's a
<v Speaker 2>guy that's clearly been beaten, and they just stab him
<v Speaker 2>with kitchen knives and shoot him, shoot him, stab him.
<v Speaker 1>You're thinking, holy shnikes, this is horrible right out of
<v Speaker 1>the gate. And then Raleoda slams the trunk shut and says,
<v Speaker 1>all my life I wanted to be a gangster boom
<v Speaker 1>into the back into nineteen fifty five.
<v Speaker 2>Fascinating choice by Scorsese to pluck that out of the
<v Speaker 2>middle of the story.
<v Speaker 1>Start off the movie with that scene where he gets
<v Speaker 1>beat by his dad from missing school. True to life
<v Speaker 1>Really happened. Also followed by the scene where they threaten
<v Speaker 1>the mailman stick his head in the oven. True to
<v Speaker 1>life really happened. You don't deliver mail? You see this?
<v Speaker 1>No mail for a mail man. I really want to
<v Speaker 1>get to the Liftanza story. It's interesting. This is Henry
<v Speaker 1>Hill's story, and he's got a really small part of this.
<v Speaker 1>But this could be an entire movie all to itself.
<v Speaker 1>It's incredible that Liftanza heist. So there's a podcast out there,
<v Speaker 1>it's called Infamous America, and they've got a series, what
<v Speaker 1>is it, six episodes. It's a six episode, six episode
<v Speaker 1>series devoted just to the heist. That's it, not the
<v Speaker 1>whole Henry Hill story, although they do give you plenty
<v Speaker 1>of information there, But just about that heist.
<v Speaker 2>Infamous America from friend of the show Chris Wimmer for
<v Speaker 2>those of you who may not really remember, it's when
<v Speaker 2>they rob the airlines, they were actually bringing cash.
<v Speaker 1>Yeah, Gis had come and exchanged money. There were two
<v Speaker 1>different two different heists. One was the Air France heist
<v Speaker 1>and the other one was the Lafonsa heist, and two
<v Speaker 1>separate things. Both of them really occurred, and both involved
<v Speaker 1>the same guy that worked for the airport, right, the
<v Speaker 1>only guy, by the way, that was prosecuted in the
<v Speaker 1>case until like late two thousands. It was a mystery
<v Speaker 1>until twenty fourteen. Yeah, I mean, well, because they killed everybody.
<v Speaker 1>That part is true as well. Jimmy got super paranoid
<v Speaker 1>and he started killing everyone who is involved.
<v Speaker 2>That's the reason why he's offing everybody at the end of.
<v Speaker 1>The movie, right, and so what are you buying this
<v Speaker 1>for a crup for? I told you not to buy
<v Speaker 1>anything right the point where take it off? Take it off?
<v Speaker 1>Henry Hills asked to go do a hit down in
<v Speaker 1>Florida and says, at that point, I knew I was
<v Speaker 1>never going to come back from Florida. It's at that
<v Speaker 1>point he has to choose. He's like, do I keep
<v Speaker 1>on living or do I obey the rules of the mob? Right,
<v Speaker 1>I guess I'll have to choose keep on living. By
<v Speaker 1>the way, when they're doing the interview scene talking to
<v Speaker 1>him about the witness Protection program with him and Karen, Yes,
<v Speaker 1>the guy who's doing the interview is the actual prosecutor
<v Speaker 1>investigator of the case. He's the real guy. He and
<v Speaker 1>Henry Hill actually became friends after this, like they would
<v Speaker 1>They tour and do talks together. It was It's crazy
<v Speaker 1>that is, but the guy, the real guy who did it.
<v Speaker 1>He's like, I'm sitting there with these cameras around, and
<v Speaker 1>we having a conversation with these two actors that I've
<v Speaker 1>actually had with Henry Hill and Karen.
<v Speaker 2>It's amazing. You know the movie My Blue Heaven with
<v Speaker 2>Steve Martin and Rick moranis That is based on the
<v Speaker 2>Henry Hill going into the Witness Protection Program. That movie
<v Speaker 2>was written by Nora Efron Yes, who is married to
<v Speaker 2>Nicholas Polegi.
<v Speaker 1>There you go a rut. I haven't had a rug
<v Speaker 1>ala in six weeks. What's that? It's a vegetable. What's
<v Speaker 1>the difference between a light bulb and a pregnant lady?
<v Speaker 1>You can unscrew a light bulb? Should not be in
<v Speaker 1>the frozen food sections. You could melt all this stuff.
<v Speaker 1>My Blue Heaven and Goodfellas are same sorogers, same source material.
<v Speaker 1>Married couple wrote both of them. That's fantastic. Okay, let's
<v Speaker 1>talk about the romance that occur between Karen and Karen. Okay,
<v Speaker 1>before he gets to the crazy stature when he's just
<v Speaker 1>ignoring her and then he stands her up. He doesn't
<v Speaker 1>care about her, right, It's not until she comes in
<v Speaker 1>confronts him in front of all of his friends and
<v Speaker 1>is screaming at me, who do you think you are?
<v Speaker 1>Henry Hill? You don't stand me up? You know what happens?
<v Speaker 1>He gets turned on. He he does, and then he
<v Speaker 1>starts and then he starts charming her, and then she
<v Speaker 1>gets turned on, and then that's the moment you have
<v Speaker 1>this awesome scene where it's a one shot right follows
<v Speaker 1>them the whole time. As they bypass the line, they
<v Speaker 1>go downstairs, they walk through the back hallway. He tips
<v Speaker 1>the guy who opens the door for him twenty bucks.
<v Speaker 1>He walks through the kitchen, he walks through they are
<v Speaker 1>bringing in a brand new table to this full restaurant
<v Speaker 1>so that he has a place to sit, and Karen
<v Speaker 1>is like, what do you do for a living? Exactly,
<v Speaker 1>I'm in construction. Yeah, it's amazing. You don't have hands
<v Speaker 1>like you're in construction. And then the guy that they
<v Speaker 1>talk to who who is managing the copa, which is
<v Speaker 1>where they are, actual manager of the copa, and the
<v Speaker 1>guy who's performing the comedy is actually Hinny Youngman. Oh yeah,
<v Speaker 1>take my wife please. And then that's followed by the
<v Speaker 1>scene where she gets she gets ruffed up by the
<v Speaker 1>guy across the street tennis pro guy, yeah whatever he was, and.
<v Speaker 2>Then he goes over and just pistol whips the crap out.
<v Speaker 1>Man, I love it. The guy's in the driveway, his
<v Speaker 1>own driver. He's like, you want some too, bam bam,
<v Speaker 1>Oh my gosh, that was rough and what did it
<v Speaker 1>do turned her on? Yeah? Of note, Yes, Paulie never
<v Speaker 1>takes phone calls, right, Yes, never takes phone calls because
<v Speaker 1>he thinks the phones can get you in trouble. And
<v Speaker 1>it seems silly because somebody's got to take a phone
<v Speaker 1>call right down the message, Go over to Polly's house,
<v Speaker 1>talk to Paulie, get Paully's information, go back to where
<v Speaker 1>they were, call back on the phone to give the information, right,
<v Speaker 1>because he won't talk on phones, which seems all silly
<v Speaker 1>until the end of the movie, when talking on the
<v Speaker 1>phone is exactly what gets him caught. Yeah, that's exactly right.
<v Speaker 2>Paulie played by Paul Sorvino, who for me growing up,
<v Speaker 2>I used to watch the movie Oh God with George Burns.
<v Speaker 2>He is the crazy Bible thump and pastor.
<v Speaker 1>Oh that's right, Yeah, that's right.
<v Speaker 3>And I personally have been chosen to render the benediction
<v Speaker 3>at this year's Super.
<v Speaker 1>Bowl, and he is actually Italian. But he just felt
<v Speaker 1>like he wasn't right for this part himself. Yes, he
<v Speaker 1>didn't know how to play the character, and he said
<v Speaker 1>he was literally about to go out to a show.
<v Speaker 1>He glanced up at himself in the mirror, and he
<v Speaker 1>caught a look, a look that he wasn't even trying
<v Speaker 1>to give, and he's like, ah, that's Pauli's look.
<v Speaker 2>By the way, according to Rayleiota, Robert de Niro put
<v Speaker 2>a fake severed horsehead in his trailer as an.
<v Speaker 1>Homage to the Godfather. That's fantastic. That's fantastic. So the
<v Speaker 1>thing about these movies is that they make me hungry?
<v Speaker 1>Am I wrong? They make me unger. I even texted
<v Speaker 1>you while I was watching The Godfather. I'm like, I
<v Speaker 1>want some spaghetti and you what I did? I push
<v Speaker 1>pause and I went and I made some spagh any
<v Speaker 1>with meat balls.
<v Speaker 2>Did you slice the garlic with the razor blade?
<v Speaker 1>No? No, what I did, put the wine and the sugar,
<v Speaker 1>get out of the sausages and brown the sash because
<v Speaker 1>Italians don't brown. They fry, right, right. So you've got
<v Speaker 1>this whole scene where Clemenza is talking about food and
<v Speaker 1>how to cook. And then in The Goodfellows you've got
<v Speaker 1>the scene where they're in prison. They're in prison and
<v Speaker 1>they it's basically like a bachelor pad. Yeah, I forget.
<v Speaker 1>I mean, it's like my college house growing up, right right,
<v Speaker 1>and they get all the food that they want. They
<v Speaker 1>get steaks, they get garlic that they can slice with
<v Speaker 1>the razors, so it just melts in the butter and
<v Speaker 1>it makes me hungry. And then you've got the whole
<v Speaker 1>scene where he's at his house, where Henry Hill's at
<v Speaker 1>his house, and it's Hill. He keeps during the sauce,
<v Speaker 1>he keeps hearting the sauce, he gets the meat sauce,
<v Speaker 1>and he's talking about all these things, and it says,
<v Speaker 1>though those things are just as important, if not more,
<v Speaker 1>than selling the drugs and avoiding the cops.
<v Speaker 2>I know, right, Let's talk about the helicopter at the
<v Speaker 2>end of the movie, Okay, is that a paranoid delusion
<v Speaker 2>or is that just a helicopter.
<v Speaker 1>I think he's really following him. I think it's definitely
<v Speaker 1>really following him, because you're not gonna have cops come
<v Speaker 1>read the scene after a phone call without already having
<v Speaker 1>some information and being ready with phones tapped and that
<v Speaker 1>kind of thing. So yeah, I definitely think that they
<v Speaker 1>were tailing him.
<v Speaker 2>By the way, I just want to mention this. Mike
<v Speaker 2>Star plays Frenchie and Goodfellas. Yeah, he also plays Frenchie
<v Speaker 2>in another movie called The ten Million Dollar Getaway Okay,
<v Speaker 2>which is a movie about the lift Tianza heist.
<v Speaker 1>Oh okay, and he plays menthyl in dub and Dummer fellas.
<v Speaker 1>I think we could listen to a radio lesson. Oh yes, okay, Yes,
<v Speaker 1>I know what you're talking about. Yes, the same character.
<v Speaker 1>He was the inside guy at the airport. Yes, yeah, okay,
<v Speaker 1>love it, yes, love it. Ten million Dollar get Away.
<v Speaker 1>How do you know? I had gas? Let me tell
<v Speaker 1>you something. They never get an asked my pills. Okay.
<v Speaker 1>So Jimmy gets paranoid and he starts whacking everybody that's
<v Speaker 1>involved in this ice. Yeah, true to life, True to life.
<v Speaker 1>That's exactly what's happened. Carbone ends up in the freezer.
<v Speaker 1>But they found a like an address book sewn into
<v Speaker 1>his coat, and that's how they got That's how they
<v Speaker 1>got their information. That's right, that's right. And so so
<v Speaker 1>the the hits that Jimmy put out, all of that's
<v Speaker 1>true to life. And then while that's going on, Tommy's
<v Speaker 1>becoming a made man, right, and it's all just a
<v Speaker 1>setup just to lead him down the primrose path until
<v Speaker 1>they put a bullet in the back of his head.
<v Speaker 1>True to life, Jimmy gets the call, finds out that
<v Speaker 1>Tommy's been killed, and after he's been often one guy
<v Speaker 1>after another, it's at that point that he starts to cry. Yeah,
<v Speaker 1>the sociopath gets killed, and that leads you to cry.
<v Speaker 1>But you've murdered all of your friends and your associates
<v Speaker 1>and it's not a problem, right. Henry Hill says, It's
<v Speaker 1>the only time I ever saw Jimmy burke. Shit.
<v Speaker 2>Wow, let's talk about that. So the Luftanza thing is
<v Speaker 2>coming down. Jimmy is monitoring these people. They're spending money.
<v Speaker 2>He gets mad at them for spending money. But in
<v Speaker 2>real life, there was one guy they call him Stacks.
<v Speaker 1>In the movie.
<v Speaker 2>Yeah, that guy was in charge of the getaway vehicle
<v Speaker 2>and he was supposed to take it to a nen
<v Speaker 2>pound yard.
<v Speaker 1>Two jobs. Replace the license tag, yes, crush the car. Yes,
<v Speaker 1>that's all he had to do. That's all he had
<v Speaker 1>to do.
<v Speaker 2>He went to his girlfriend's house and he fell asleep.
<v Speaker 1>And they immediately found it.
<v Speaker 2>They found the car with his prints all over the place.
<v Speaker 2>And so guess what they're hot on the trail of
<v Speaker 2>all these guys.
<v Speaker 1>Early appearance by Samuel L. Jackson. By the way of
<v Speaker 1>the movie, this is pre almost everything. I mean, he
<v Speaker 1>had been the guy, he had been the robber in
<v Speaker 1>coming to America, but he hadn't been in hardly anything.
<v Speaker 1>It was just four years before pulp fiction. Wow, Samuel L.
<v Speaker 1>Jackson and Stacks. One quick thing I want to talk
<v Speaker 1>about before final judgment. Okay.
<v Speaker 2>In nineteen seventy four, The Godfather premiered on NBC over
<v Speaker 2>two nights. Both nights it ended at eleven PM, and
<v Speaker 2>in both nights, the New York City Municipal Water Authorities
<v Speaker 2>had some overflow problems from all the toilets flushing at
<v Speaker 2>the same time because you can't pull yourself away. That's
<v Speaker 2>why I'm so thankful that this movie had an intermission.
<v Speaker 2>Let's talk about the reception of these movies.
<v Speaker 1>Okay, all right. Obviously The Godfather was a nuclear bombs
<v Speaker 1>smashing success. Yep.
<v Speaker 2>Not only that, I mean it made a ton of money,
<v Speaker 2>but it won Best Picture. Yeah, Brando won Best Actor.
<v Speaker 1>Didn't show up. Let's talk about that, all right.
<v Speaker 2>So Marlon Brando won the Best Actor Oscar for The Godfather,
<v Speaker 2>but instead of going to the Oscars, he set sashen
<v Speaker 2>little feather. She went up Roger Moore. James Bond offers
<v Speaker 2>her the statuette. She would not accept it and proceeded
<v Speaker 2>to have a speech about the film industry's mistreatment of
<v Speaker 2>Native Americans.
<v Speaker 1>Yep, I've watched the old reel of this, and I
<v Speaker 1>think she handled herself in a very diplomatic and for
<v Speaker 1>what she was doing, handled it very well.
<v Speaker 2>So Marlon Brando became the second actor to refuse a
<v Speaker 2>Best Actor award.
<v Speaker 1>Do you know the other one? No, George C. Scott.
<v Speaker 1>That's what I was gonna say for Patten, which was
<v Speaker 1>also Francis Ford Coppola, right.
<v Speaker 2>Francis Ford Coppola wrote the screenplay, by the way, The
<v Speaker 2>Godfather Part two. Yeah one Best Picture, Yes, Goodfellows was
<v Speaker 2>nominated for Best Picture and lost to Dances with Wolves.
<v Speaker 1>Mario Puzzo one for Best Writing, James Cohn was nominated.
<v Speaker 1>Robert Devall was nominated. Al Pacino was nominated.
<v Speaker 2>Al Pacino boycotted the Oscars because he was nominated for
<v Speaker 2>Best Supporting Actor and he felt like he should have
<v Speaker 2>been nominated for Best Actor because he was in he
<v Speaker 2>had more screen time than Brando.
<v Speaker 1>Francis Ford Coppola was nominated for Best Director. Oh my gosh,
<v Speaker 1>we can't not talk about the music. This is one
<v Speaker 1>of my favorite soundtracks of all time. You got two
<v Speaker 1>key pieces of music here. One is a waltz which
<v Speaker 1>is three four time, and the other one is in
<v Speaker 1>four to four times. But it's got this beautiful Italian
<v Speaker 1>I will walk around whistling these tunes at work. They
<v Speaker 1>are beautiful and sad and sweet and take you right
<v Speaker 1>down to little Italy. It is. It's They're all by
<v Speaker 1>Nina Rota, who did ton of great movies. He composed
<v Speaker 1>the soundtrack for Romeo and Juliet, which is I mean,
<v Speaker 1>that's that's up there with like Beethoven and Bach. I mean,
<v Speaker 1>it's amazing stuff that he's done. And the piece of
<v Speaker 1>music that he did in Godfather One, of course they
<v Speaker 1>used again and Godfather Iwo. Nina Rota love it. Soundtrack
<v Speaker 1>for Goodfellas, it's all popular music. It's all pop music.
<v Speaker 1>Out of the head of Martin Scorsese' here's the song
<v Speaker 1>we need for this scene on the script, before we
<v Speaker 1>get an actor cast, before we before one photography piece
<v Speaker 1>is made, I am telling you these are the songs
<v Speaker 1>that we have, These songs that come out of Martin
<v Speaker 1>Scorsese's head. In the fifties, You've got rags to riches,
<v Speaker 1>You've got life is but a dream. You've got Baby,
<v Speaker 1>I Love You, and be on the sea. And then
<v Speaker 1>when they move up into the sixties and the seventies,
<v Speaker 1>you get Sunshine of Your Love and that awesome scene
<v Speaker 1>where they're panning in on Robert De Niro's face and
<v Speaker 1>Layla the piano music. Oh my gosh, you couldn't pick
<v Speaker 1>a more perfect song that where the switch happens in
<v Speaker 1>Laila and it goes into that piano music. Perfect. Perfect.
<v Speaker 1>He knew when he was filming that scene.
<v Speaker 2>He's like, you know what'd be great here, Laila, except
<v Speaker 2>not that regular part of Leila, the piano part of Laila.
<v Speaker 1>Yeah. You know.
<v Speaker 2>He also used he wanted to use Frank Sinatra's version
<v Speaker 2>of My Way at the end of the movie. Yeah,
<v Speaker 2>but Sinatra wouldn't let him, so then he used Sid
<v Speaker 2>Vicious' version instead.
<v Speaker 1>That's perfect. One quick thing.
<v Speaker 2>So Godfather Part one one Best Picture, Godfather Part two
<v Speaker 2>one Best Picture. Yeah, there's only been two sequels that
<v Speaker 2>received Best Picture, Godfather Part two and Return the King.
<v Speaker 1>I was about to say, Lord of the Rings. It's
<v Speaker 1>gotta be Yeah. Joe Peshi's acceptance speech at the Oscar
<v Speaker 1>for winning Best Actor, it's like the shortest in Oscar history. Okay,
<v Speaker 1>he said, it's been my pleasure, thank you, and that's it. Nice.
<v Speaker 1>All right, on to final judgment. I thought he was
<v Speaker 1>gonna say, dances with I'm not ready yet. We've been
<v Speaker 1>rolling this around for weeks. This is driving me nuts.
<v Speaker 1>This is like, this is worse than Major League versus
<v Speaker 1>Boulder Eyes. This is this is like the hardest comparison
<v Speaker 1>I think we have ever had. I don't really have
<v Speaker 1>a good read on you on this. Okay, you got
<v Speaker 1>to go first. I'm still gonna I'm probably gonna change
<v Speaker 1>my answer free times, Okay, in the next thirty seconds.
<v Speaker 1>All right.
<v Speaker 2>So these are some of the greatest movies of all time,
<v Speaker 2>reaching their fiftieth birthday. They have major cultural impact, and
<v Speaker 2>I have gone back and forth. I think I've had
<v Speaker 2>every movie at the number one spot at some point
<v Speaker 2>on my list. But here is where I come down.
<v Speaker 2>Number one for me is.
<v Speaker 1>The Godfather Part two.
<v Speaker 2>So many of the interesting characters from Godfather Part one
<v Speaker 2>have been killed off. You know, we changed some people
<v Speaker 2>characters and the importance and stuff like that. I thought
<v Speaker 2>the stuff in Cuba was beautiful and amazing. I felt
<v Speaker 2>incredibly sad when Fredo got killed, but still number three
<v Speaker 2>for me.
<v Speaker 1>Number two is going to be Good Fellas. Now.
<v Speaker 2>I love Peshi, I love de Niro, I love Leota,
<v Speaker 2>I love Braco.
<v Speaker 1>I love what Scorsese has done with Goodfellas. I watch
<v Speaker 1>it over and over again.
<v Speaker 2>I think the vignette nature of it makes it easier
<v Speaker 2>to kind of jump in and jump out of.
<v Speaker 1>You've got the Luftonza stuff.
<v Speaker 2>You've got the beatings and the Billy Batt's part and
<v Speaker 2>all this stuff, the mafia life.
<v Speaker 1>Love Goodfellas. That brings me to number one. Overall. It's
<v Speaker 1>the original, it's the oldest one.
<v Speaker 2>It's Marlon Brando as the godfather, the epics story of
<v Speaker 2>the family in crisis and the ascension of Michael to power.
<v Speaker 1>For me, that is number one. D Where are you? Okay?
<v Speaker 1>I can't fault you for anything that you've said, but
<v Speaker 1>I am completely like we don't agree on any one thing,
<v Speaker 1>not one thing, single thing. Okay. So this is where
<v Speaker 1>I fall, and this could be different tomorrow. It could
<v Speaker 1>be different in five minutes. But for right now, at
<v Speaker 1>this moment, I have to say in the number three
<v Speaker 1>spot for me is Goodfellas. It is fantastic. It is
<v Speaker 1>a unique animal like we talked about before the original Godfather.
<v Speaker 1>It made you want to be a gangster. It made
<v Speaker 1>you want it to be a part of the mafia.
<v Speaker 1>Goodfellas freaked me out, made me not want to be
<v Speaker 1>I mean, I'm Joe Peshy. Is terrifying in every respect,
<v Speaker 1>but action packed, fun filled even with all of its uncomfortableness.
<v Speaker 1>Great movie, great soundtrack, great direction by Martin Scorsese. I mean,
<v Speaker 1>talk about an icon. I'd be willing to spike the
<v Speaker 1>football on this one. This is the best Martin Scorsese
<v Speaker 1>movie that exists. Wow. I like The Departed, I like
<v Speaker 1>I like Raging Bowl, I like those movies, but this one,
<v Speaker 1>to me is his Koudi Graf. But for me, it's
<v Speaker 1>number three, which leaves us with the two Godfather movies,
<v Speaker 1>and they're both beautiful, Like every single frame is a
<v Speaker 1>piece of art. I mean, it's so beautifully photographed. And
<v Speaker 1>Coppola it is his masterpiece. Either he has done nothing
<v Speaker 1>before or since that has has amounted to what this
<v Speaker 1>thing is, but it's so so good, and it's hard
<v Speaker 1>to pick between these two because they are linked hand
<v Speaker 1>in hand. But when it comes down to it, the
<v Speaker 1>story that I find the most fascinating, the most engaging
<v Speaker 1>is the rise of Vito Corleone from immigrant in Italy
<v Speaker 1>to the Dawn. I think that movie or that storyline
<v Speaker 1>is fascinating, and the fact that it's almost all in Italian,
<v Speaker 1>it is beautifully done. And so for that reason, The
<v Speaker 1>Godfather has to finish at number two for me, and
<v Speaker 1>number one is The Godfather Part two.
<v Speaker 2>Hey, I'm gonna put you on spot real quick. Okay,
<v Speaker 2>greatest sequel of all time is what Empire Strikes Back
<v Speaker 2>exactly exactly right? Okay, Well for once you and I agree,
<v Speaker 2>Football Empire Strength. Okay, come back next week. I'm so
<v Speaker 2>excited what we're going to talk about next week. We've
<v Speaker 2>got two albums that we're going to compare that are
<v Speaker 2>turning forty this year, and there is a song on
<v Speaker 2>this upcoming one that we're going to do.
<v Speaker 1>It's Total four.
<v Speaker 2>Yeah, we've been playing it for forty years and it
<v Speaker 2>hasn't got old.
<v Speaker 1>It's been downloaded one point one billion times. It's incredible.
<v Speaker 1>We're going to talk about Africa.
<v Speaker 2>We're going to talk about a song about Rosanna Arquette
<v Speaker 2>and some of the greatest session musicians of all time.
<v Speaker 1>Yeah, and we're going to compare that to some guys
<v Speaker 1>who were very pretty but still managed to learn to
<v Speaker 1>play their instruments pretty well and became rock icons of
<v Speaker 1>the eighties Duran Duran. Both of these albums came out
<v Speaker 1>in nineteen eighty two, and so it's only fitting that
<v Speaker 1>we match these guys up, pretty boys who just learned
<v Speaker 1>to play their instruments versus a bunch of well, for
<v Speaker 1>lack of better term, ugly guys who were the best
<v Speaker 1>musicians of the day. It's an interesting comparison Toto four
<v Speaker 1>versus Rio Duran Duran. Everybody be sure and hit the
<v Speaker 1>follow button on your podcast app so that you are
<v Speaker 1>sure not to miss that episode. And if you would
<v Speaker 1>do this for me, all right, write a review for us,
<v Speaker 1>give us five star rating. Write a review and throw
<v Speaker 1>in either the Godfather or Goodfellas or an offer we
<v Speaker 1>can't refuse, and we will read your review on our
<v Speaker 1>next podcast that sounds like an offer they can't refuse.
<v Speaker 1>There you go, see you back here next week. All
<v Speaker 1>in my life, I wanted to be a podcaster. One
<v Speaker 1>love is a love, A love a love