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The Italian spoken in the restaurant scene


Does anyone know the conversation that was spoken between Michael and Solozzo? The subtitles don't reveal what they are saying.

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Coppola intentionally omitted to include subtitles. 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. However, NO subtitles were used in the film for any Italian spoken. When Luca Brasi is pretending to switch to the Tattaglia family, he and Solozzo speak in Italian. 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. Still, for the whole segment where Michael was in Sicily, it became a bit annoying to always be wondering what they were saying. 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).

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Wow. Way to not answer the question you blowhard.

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Dick

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NO subtitles were used in the film for any Italian spoken

There were subtitles for the Luca Brasi scene and all the Sicily scenes. They're missing from the version you're watching, but they have always been there, and are indicated in the script.

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It was pretty clear what the basic premise was. We knew going in to the meeting what Sollozzo and Michael wanted.

When they first started speaking in Italian, Sollozzo said something and gestured to his jaw. Clearly he was asking Michael about the injury that McClusky gave him. Plus, a lot of the words kind of translated easily. Words like grosso respecto (sp?) and padre told me that Sollozzo was telling Michael that he had considerable respect for his father. He also said (bees een ease) which I assume is business, again referring to Sollozzo telling Michael the hit wasn't personal, but business like Hayden was telling them earlier.

Later, when Michael struggles with the Italian and switches back to English, Sollozzo reverts back to English and seems to repeat the earlier points in English, even making the same facial expression and gesture to himself when he said he "was the hunted one".

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After I started posting on this board recently, I looked up an online copy of the script. It's at http://www.thegodfathertrilogy.com/gf1/transcript/gf1transcript.html

The transcriber doesn't claim it's authoritative, but it seems to be accurate overall, at least the English language parts. Here's the section with that conversation. 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:

SOLLOZZO (to the waiter)

Capide? [understand?]

(then, after the waiter nods, opens the bottle and pours the wine)

All right.

(then, to McCluskey)

I'm gonna speak Italian to Mike.

McCLUSKEY

Go ahead...

SOLLOZZO

Me dispiace... [I'm sorry...]

MICHAEL

Lassa-i ["leave it alone/forget about it"]

SOLLOZZO

[Sounds like, in Italian: "What happened to your father was business -- I have much respect

for your father -- but your father -- his thinking is old fashioned. You must understand why I

had to do that"...]

MICHAEL

[Sounds like, in Italian: "I understand those things..."]

SOLLOZZO (after the waiter brings McCluskey's veal, then exits)

[Sounds like, in Italian: "Now let's work through where we go from here... (more)"]

MICHAEL

[Something in Italian]...come si diche...? ["How do you say...?"]

(then, in English)

What I want -- what's most important to me -- is that I have a guarantee: No more attempts

on my father's life.

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Thanks, but somehow you missed the part after Michael comes out of the bathroom:

SOLLOZZO (voice fading into background)
[Sounds like, in Italian:
"Everything all right? I respect myself -- understand? -- and cannot allow another
man to hold me back. What happened was unavoidable. I had the unspoken support of the
other Family Dons. If your father were in better health, without his eldest son running
things, no disrespect intended, we wouldn't have this nonsense. We will stop fighting until
your father is well and can resume bargaining. No vengeance will be taken. We will have
peace, but your family should interfere no longer...." (rough translation by Jim Coyle)]

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Ah, thank you. I misremembered the scene and was thinking that after Michael switched to English -- "What I want," etc -- that the rest of the scene was in English, so I didn't look any further. Thanks for catching my mistake.

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I came across this video which has added subtitles and they differ greatly from the "transcript" above: https://www.youtube.com/watch?v=AKBcRU5tPco

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Well, that transcriber didn't seem to be claiming it was a good translation. "Sounds like," indeed.

Like strntz, I picked up some words here and there that I could understand. Respect, antique, business. 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. Aside from musical terms I don't know the language so I couldn't say.

I looked up the passage in the book. I had intended to type it in here but it's far too long for that. Paraphrased and condensed, Sollozzo says this. "I have great respect for your father, but he's an old-fashioned man. Drugs are the coming thing and by refusing to cooperate he stands in the way. I have the silent support of all the New York Families. If this quarrel continues your Family will stand alone. So I propose a truce. Cease all hostilites until your father is well again and can negotiate for your Family. Meanwhile I will do my business. I don't ask for your cooperation but do ask that you don't interfere."

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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, but the transcript seems to be almost twice as long as what's in the movie and is closer to the passage from the book that you quoted.

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> 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

My condensed excerpt is all from before Mike's trip to the latrine. There's no train in the book, but when he comes out of the bathroom these things happen. 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. So he sits down at the table and Sollozzo starts talking again, but Mike is so ... I dunno, full of adrenaline? ... that he can't understand anything Sollozzo is saying, it's gibberish to him. I guess that was the effect the train noise in the movie is supposed to achieve. 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. Sollozzo does indeed have sharp reflexes and jerks away, but Mike is quicker and gets him with one shot. 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.

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Here's what I took from the scene where Michael leaves the bathroom and doesn't follow Clemenza's plan.

We see him acquire the gun from behind the toidy tank. So far, so good. On the way out of the bathroom, he stops for about 5 seconds. He finally leaves the bathroom and again stops for a few seconds looking at both Sollozzo and McClusky. He then approaches them and .... sits down! Plan awry. He certainly didn't follow the plan start shooting.

I think this is for our benefit. We expected him to come out blasting as Clemenza instructed, instead, it appears Michael changed his mind or chickened out (maybe he did). Now we don't know what's going to happen.

When he finally pulls the gun, we are shocked that he went through it, more so in fact than if he just came out of the bathroom blasting as we first thought he would.


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> We expected him to come out blasting as Clemenza instructed, instead, it appears Michael changed his mind or chickened out (maybe he did). Now we don't know what's going to happen.

The first time I saw the movie I didn't have either of those two reactions. I thought he still intended to go through with it but had screwed up, forgetting Clemenza's instructions. That gun is tucked inside his pants, and he's gonna have a hard time getting it out smoothly and quickly from a seated position. He's gonna try, but he might not be able to do it fast enough and it might be his brains that end up all over his own Ivy League suit. He's in trouble.

Any of those three ways of thinking, it builds suspense. And did you notice he violated Clemenza's instructions in another way? Pete told him to not take chances, shoot them both twice in the head. But he gave Sollozzo only one shot in the head, and while McCluskey got two shots, only one was in the head.

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And did you notice he violated Clemenza's instructions in another way? Pete told him to not take chances, shoot them both twice in the head. But he gave Sollozzo only one shot in the head, and while McCluskey got two shots, only one was in the head.


Yep, one of several. Instead of letting the gun slip out of his hand so no one would know if he was still armed, he raised his arm and dropped it like he was letting go of a hot potato. Rookie...

Regarding Michael leaving the bathroom, I still think we were supposed to believe he chickened out. Clemenza's plan was to have him take the gun and come out shooting. We see Michael find the gun, we don't see him put it in his pocket, we see him hesitate before leaving the bathroom, and we see both his hands as he uses both to straighten his hair (intentional?). We then see him sit down with an almost disgusted look on his face.

But yes, any of those scenarios builds suspense.

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> Regarding Michael leaving the bathroom, I still think we were supposed to believe he chickened out.

I stumbled across this yesterday and bought the Kindle edition: https://www.amazon.com/Godfather-Notebook-Francis-Ford-Coppola-ebook/dp/B01MRRWX5J/

It's Coppola's "bible" he constructed when making The Godfather. 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. 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. Supposedly, once filming began he relied on this massive thing (700+ pages) at least as much as the actual script. A lot of fascinating stuff, very detailed in places.

On a side note, this isn't a transcription of Coppola's notes but rather an image of each page, an exact reproduction of the notebook. So it's massive. The Kindle file is 540754 KB; by contrast, the Kindle file for Puzo's novel is 1174 KB. When I downloaded it and nothing happened at first, I thought my Kindle software had broken until I realized what was going on.

Anyway, he intended the audience to notice that Michael wasn't following Clemenza's instructions, but he didn't intend the audience to draw any specific conclusion from that, just to become frightened for Michael's sake when they see he's "ad libbing."

> Instead of letting the gun slip out of his hand so no one would know if he was still armed, he raised his arm and dropped it like he was letting go of a hot potato. Rookie...

At that point FFC's notes read, "The gun in his hand: he starts to leave without dropping it. The audience is dying DROP IT! DROP IT! DROP IT!!!"

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Good stuff. Thanks for the info!

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You're welcome. I spent most of yesterday afternoon and evening working through the book and got as far as that scene, then remembered our discussion here. It's slow going but very interesting!

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Yes, thank you.

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There's like a dozen Youtube videos with different but similar interpretations.

Sicilian and most Italian dialects from various provinces are very slangy and different from one another. It's like in England where a Geordie sounds nothing like a somebody from Kent

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From memory, the Italian was spoken so quickly in the film that it would have been difficult to subtitle.

In the book, Solozzo is basically trying to strike a bargain with Michael (although Michael knows he's only buying time before the next attack on the Corleones) and expresses regret over the attacks on his brother and father. Meanwhile, Michael is barely paying attention as he tries to maintain his composure while hyping himself up for his own assassination attempt on Solozzo and the police captain.

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