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Originally posted by Don Cardi:
You're focusing too much on Pacino, and not the movie as a whole.
Don Cardi, there is no such thing as focusing "too much" on Pacino wink . But seriously, it is the Michael story line I am focused on because that is what interested me -- the interaction with Roth, Fredo, Pentangeli, Kay, etc. Pacino can't help it if he dominates every scene he's in. [Linked Image]

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That is why I ask you to watch GFII over again, with more of an open mind, keeping what we've discussed here at the forefront of your mind.
OK, Don Cardi. Your advice is so sincere and from the heart, that it's the least I can do. I will rent the movie version (flashbacks juxtaposed instead of in chronological order) in the next while. I have the saga on tape (which is in chrono order), but someone accidentally taped over the young Vito scenes at the beginning (and it wasn't me, honest cool ).

But remember, three other people (so far) voted that they can also do without the flashbacks; so it may just come down to a matter of taste. I think one of the reasons I have a problem with the flashbacks has to do with an unintentional effect that the contrast technique evokes: that the alternating lives of the two Dons are diametrically opposite. In other words, I get the impression that the film presents Vito as the "good, moral, compassionate mafia kingpin" while Michael is the "bad, amoral, merciless mafia kingpin."

Didn't Vito exploit women (via prostitution)? Didn't Vito arrange for a few legs and fingers to be broken (via loan collections, gambling)? Didn't Vito threaten and coerce people (such as Johnny Fontane's bandleader)? We don't see Vito doing the dastardly deeds, which to me is a bit disingenuous.

Also, I had complained that the flashbacks probably cut into Al Pacino's screen time [Linked Image]. Not only that, but I also believe that the flashbacks, adding so much to the movie's length, necessitated the cutting of other scenes in the Michael story line. It was Turnbull who suggested, in another thread, that some key scenes are probably on the cutting room floor -- scenes which might have answered the questions we've been debating lately. (Who killed the Tahoe assassins? Was Fredo the only traitor? Why was Rocco sent to kill Roth? etc.)

But I'll try to sit through the flashbacks, since it seems to mean so much to you smile . (And why shouldn't it? Avid Godfather fans are natural evangelists for this film experience.)

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And less focus on Pacino, ya hear me? lol wink
OK, Don Cardi. I promise that the only time I will focus on Pacino is when he is on screen. wink