He also took each page of the novel, pasted it in the center of a larger piece of paper, and made handwritten notes around the margins. Before filming began, he went through the entire story and dissected each scene in advance, including possible pitfalls to avoid, key imagery elements, the 1940s period setting, pacing, etc. It's Coppola's "bible" he constructed when making The Godfather. I stumbled across this yesterday and bought the Kindle edition: > Regarding Michael leaving the bathroom, I still think we were supposed to believe he chickened out. Then he turns on McCluskey, who doesn't seem to realize he's in danger until Mike points the gun at him, and shoots him. Sollozzo does indeed have sharp reflexes and jerks away, but Mike is quicker and gets him with one shot. After a few moments he whips out the gun and shoots Sollozzo, knowing he's the younger and quicker of his two victims and he'd better get him first. I guess that was the effect the train noise in the movie is supposed to achieve. that he can't understand anything Sollozzo is saying, it's gibberish to him. So he sits down at the table and Sollozzo starts talking again, but Mike is so. First, despite Clemenza's instructions to him to just shoot them the moment he comes out of the bathroom, he doesn't - some instinct warns him that they're on guard and that if he draws out the gun at that moment he'll be cut down instantly. There's no train in the book, but when he comes out of the bathroom these things happen. My condensed excerpt is all from before Mike's trip to the latrine. > I thought it was interesting that in the movie, Sollozzo says about five sentences after Michael comes out of the bathroom before the sound of the train drowns out his voice I don't ask for your cooperation but do ask that you don't interfere." reply share Cease all hostilites until your father is well again and can negotiate for your Family. If this quarrel continues your Family will stand alone. I have the silent support of all the New York Families. Drugs are the coming thing and by refusing to cooperate he stands in the way. "I have great respect for your father, but he's an old-fashioned man. Paraphrased and condensed, Sollozzo says this. I had intended to type it in here but it's far too long for that. Aside from musical terms I don't know the language so I couldn't say. I wonder if an Italian would naturally choose those words to express those ideas, or if they did it this way so the audience would have some idea of what Sollozzo was saying. Like strntz, I picked up some words here and there that I could understand. Well, that transcriber didn't seem to be claiming it was a good translation. What I want - what's most important to me - is that I have a guarantee: No more attempts SOLLOZZO (after the waiter brings McCluskey's veal, then exits) [Sounds like, in Italian: "What happened to your father was business - I have much respectįor your father - but your father - his thinking is old fashioned. (then, after the waiter nods, opens the bottle and pours the wine) I don't think his translation is quite right, most of it is tagged "sounds like." Anyway, here it is, for what it's worth: Here's the section with that conversation. The transcriber doesn't claim it's authoritative, but it seems to be accurate overall, at least the English language parts. reply shareĪfter I started posting on this board recently, I looked up an online copy of the script. You can gain some of the meaning through context (Apollonia's father was insulted because the two Sicilian bodyguards were obviously telling him that Michael saw a hot piece of ass and the father realized they were talking about his daughter). Still, for the whole segment where Michael was in Sicily, it became a bit annoying to always be wondering what they were saying. Actually the same rationale of wanting us to see the body language may apply here, and in any case, what they were saying was pretty obvious. When Luca Brasi is pretending to switch to the Tattaglia family, he and Solozzo speak in Italian. However, NO subtitles were used in the film for any Italian spoken. For the scene between Michael and Solozzo, just before Michael shoots him, the body language was critical, so I can understand why Coppola wanted the audience to focus on the faces of these two characters, and if he had added subtitles, they would be reading the subtitles, not looking at the faces. Coppola intentionally omitted to include subtitles.
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