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** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which featured her topless. Definitely something Hollywood could only get away with doing in 1972 or before.

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** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 16 during filming. Yes, she was ''fifteen'' ''sixteen'' when she filmed an intimacy scene with the adult Al Pacino, which featured her topless. Definitely something Hollywood could only get away with doing in 1972 or before.
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** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which involved a topless scene. Definitely something Hollywood could only get away with doing in 1972 or before.

to:

** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which involved a topless scene.featured her topless. Definitely something Hollywood could only get away with doing in 1972 or before.
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** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which involved a topless scene. Definitely something Hollywood could get away with doing in 1972.

to:

** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which involved a topless scene. Definitely something Hollywood could only get away with doing in 1972.1972 or before.
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** Vito and Carmela's non-interference in Connie's abusive marriage. When Connie tries seeking her mother's help, her mother dismisses her by saying she needs to be a better wife, citing the fact that she never gave Vito a reason to hit her. She even rebukes Sonny for sticking up for Connie at Sunday dinner. Vito on the other hand is outraged by Carlo's treatment of her, but feels that it wouldn't be right for him to interfere, yet he also rebukes Sonny in a deleted scene when he's about to interject in an argument Connie and Carlo are having.

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** Vito and Carmela's non-interference in Connie's abusive marriage. When Connie tries seeking her mother's help, her mother dismisses her by saying she needs to be a better wife, citing the fact that she never gave Vito a reason to hit her. She even rebukes Sonny for sticking up for Connie at Sunday dinner. Vito on the other hand is outraged by Carlo's treatment of her, but feels that it wouldn't be right for him to interfere, yet he and also rebukes Sonny in a deleted scene when he's about to interject in an argument Connie and Carlo are having.
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** The scene where Jack Woltz awakes puzzled at finding blood in his bed, before he discovers, much to his horror, that the blood is from the cut-off head of his prized racehorse, Khartoum, placed in his bed while he was sleeping, and [[TheScream he starts screaming as the scene ends on a cut to an exterior shot of his manor]], is perhaps the second most referenced scene from the first film.
** The Baptism scene, where Michael proves that he is even more cunning and ruthless than his father, by having his men eliminating all the family's enemies in one fell swoop, through a montage of assassinations, interspliced with him calmly reciting the baptismal vows as he stands as Godfather at his nephew's baptism, is probably the third most referenced scene from the original.

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** The scene where Jack Woltz awakes puzzled at finding blood in his bed, before he discovers, much to his horror, that the blood is from the cut-off head of his prized racehorse, Khartoum, placed in his bed while he was sleeping, and sleeping. [[TheScream he He starts screaming as the scene ends on a cut switches to an a shot of the exterior shot of his manor]], manor]]. This is perhaps the second most referenced scene sequence from the first film.
** The Baptism scene, where Michael proves that he is even more cunning and ruthless than his father, by having his men eliminating all the family's enemies in one fell swoop, through swoop. Through a montage of assassinations, interspliced with him Michael calmly reciting the baptismal vows as he stands as Godfather at his nephew's baptism, is probably the third most referenced scene from the original.



* SpecialEffectsFailure: When Sonny beat the bejesus of out of Carlo for hitting Connie, the third and ''especially'' fourth punch did not connect (with the fourth actually hitting '''thin air'''), and Carlo '''still''' hilariously reacts as if he's been hit full force respectively in the right-ribs and left jaw.

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* SpecialEffectsFailure: When Sonny beat beats the bejesus of out of Carlo for hitting Connie, the third and ''especially'' fourth punch did not do '''not''' connect (with the fourth actually hitting '''thin air'''), and Carlo '''still''' hilariously reacts as if he's been hit full force respectively in the right-ribs and left jaw.
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** Fans of Creator/MartinScorsese's gangster films as well as ''Series/TheSopranos'' sometimes attack ''Film/TheGodfather'' for having a too romantic view of the mob and sentimentalizing TheMafia. At the time Coppola made the film, romanticizing the mob was the radical thing to do, since all gangster films before it had been too {{Anvilicious}} and painted gangsters as one-dimensional thugs with no personalities. To radically break from the tropes that existed before, Coppola and Puzo, went to the opposite end and overlaid the style (with Coppola even comparing it to an opera). The af films by Scorsese and others that followed were more realistic in emphasizing the violence and sociopathy [[TakeAThirdOption of the mob life but they also sought]] to make them three-dimensional relatable characters the way ''The Godfather'' did, which does at times make ''The Godfather'' take on the crime family and genre feel a little off, mixed as it is with EpicMovie and old-fashioned Hollywood touches.

to:

** Fans of Creator/MartinScorsese's gangster films as well as ''Series/TheSopranos'' sometimes attack ''Film/TheGodfather'' for having a too romantic view of the mob and sentimentalizing TheMafia. At the time Coppola made the film, romanticizing the mob was the radical thing to do, since all gangster films before it had been too {{Anvilicious}} and painted gangsters as one-dimensional thugs with no personalities. To radically break from the tropes that existed before, Coppola and Puzo, went to the opposite end and overlaid the style (with Coppola even comparing it to an opera). The af after films by Scorsese and others that followed were more realistic in emphasizing the violence and sociopathy [[TakeAThirdOption of the mob life but they also sought]] to make them three-dimensional relatable characters the way ''The Godfather'' did, which does at times make ''The Godfather'' take on the crime family and genre feel a little off, mixed as it is with EpicMovie and old-fashioned Hollywood touches.

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* FountainOfMemes: As one of the most iconic characters and performances in all of cinema, Vito Corleone has been parodied or referenced in one shape or form, with almost every line of dialogue uttered by him being quoted even to this very day.



* FountainOfMemes: As one of the most iconic characters and performances in all of cinema, Vito Corleone has been parodied or referenced in one shape or form. With almost every line of dialogue uttered by him being quoted even to this very day.
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* FirstInstallmentWins: Culturally. While ''The Godfather II'' is considered a masterpiece and as good, and by some to be the better film, ''Part I'' still remains the more iconic and better known of the two films. This is mainly because Marlon Brando's Vito Corleone is the single most iconic character of the films and he's only there in the first film, with most of his screen-time happening in the early acts of the first film, being the DecoyProtagonist before Michael takes over. As such that remains the most well-known and well-remembered part of the entire series at least among the general public and most of the parodies around this series.

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* FirstInstallmentWins: Culturally. While ''The Godfather II'' is considered a masterpiece and as good, and by some to be the better film, ''Part I'' still remains the more iconic and better known of the two films. This is mainly because Marlon Brando's Vito Corleone is the single most iconic character of the films franchise and he's only there present (in modern times) in the first film, with most of his screen-time happening in the early acts of the that first film, movie, being the DecoyProtagonist before Michael takes over. As such that remains the most well-known and well-remembered part of the entire series at least among the general public and most of the parodies around this series.

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* FanPreferredCutContent: Creator/JamesCaan was angry that scenes giving Sonny more depth (such as his reaction to his father's shooting) were cut from the film. He confronted Robert Evans at the premiere and yelled at him, "Hey, you cut my whole fuckin' part out". Caan claimed that forty-five minutes of his character were cut.



* FanPreferredCutContent: Creator/JamesCaan was angry that scenes giving Sonny more depth (such as his reaction to his father's shooting) were cut from the film. He confronted Robert Evans at the premiere and yelled at him, "Hey, you cut my whole fuckin' part out". Caan claimed that forty-five minutes of his character were cut.

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* {{Fanon}}: There's a belief that Don Altobello, Eli Wallach's character in ''Part III'', is the ''consigliere'' sitting behind Philip Tattaglia at the meeting of the Commission in ''Part I'', since it's stated that Altobello was ''consigliere'' to the Tattaglias before he took over their holdings at some point before ''Part III''. However it's considered unlikely because Tattaglia would probably not want to employ someone so close to the Corleones.
* FanonDiscontinuity: The first and second films are regarded as some of the best films ever created. The third one, on the other hand... see ContestedSequel above.


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* {{Fanon}}: There's a belief that Don Altobello, Eli Wallach's character in ''Part III'', is the ''consigliere'' sitting behind Philip Tattaglia at the meeting of the Commission in ''Part I'', since it's stated that Altobello was ''consigliere'' to the Tattaglias before he took over their holdings at some point before ''Part III''. However it's considered unlikely because Tattaglia would probably not want to employ someone so close to the Corleones.
* FanonDiscontinuity: The first and second films are regarded as some of the best films ever created. The third one, on the other hand... see ContestedSequel above.
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** Tom Hagen is a pretty minor character whose backstory is barely even touched upon in the films, and yet he still manages to be a fan-favorite character for being the consigliere of the Corleone family and being one of the most logical and having a lot of common sense.

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** Tom Hagen is a pretty relatively minor character whose backstory is barely even touched upon in the films, and yet he still manages to be a fan-favorite character for being the consigliere of the Corleone family and family, being one of the most logical and having a lot of common sense.
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** Paramount had no expectations for the film, despite it being based on a bestseller. Creator/FrancisFordCoppola was hired only for his Italian origins; the studio gave him limited funds and complained about every decision of his. It became the highest-grossing movie ever upon release, and is frequently in "best of all time" lists.

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** Paramount had no expectations for the film, despite it being based on a bestseller. Creator/FrancisFordCoppola was hired only for his Italian origins; the studio gave him limited funds and complained about every decision of his. It became the highest-grossing movie ever upon release, and is frequently in on "best of all time" lists.
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** There's a [[http://boards.straightdope.com/sdmb/showthread.php?t=205771 fairly popular]] [[https://www.quora.com/The-Godfather-Part-II-1974-movie/Why-did-Michael-send-Rocco-not-just-a-button-man-to-kill-Roth fan theory]] that Rocco was involved in Roth's plot against Michael in ''Part II''. While there's little textual evidence for it, it would explain Rocco's failure to foil the assassination attempt or to bring the shooters in alive. It would also explain why Michael would order, and he would readily accept, a borderline suicide mission to kill Roth later in the film as a chance of atonement with Michael.

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** There's a [[http://boards.straightdope.com/sdmb/showthread.php?t=205771 fairly popular]] [[https://www.quora.com/The-Godfather-Part-II-1974-movie/Why-did-Michael-send-Rocco-not-just-a-button-man-to-kill-Roth fan theory]] that Rocco was involved in Roth's plot against Michael in ''Part II''. While there's little textual evidence for it, it would explain Rocco's failure to foil the assassination attempt or to bring the shooters in alive. It would also explain why Michael would order, and he would readily accept, a borderline suicide mission to kill Roth later in the film as a chance of at atonement with Michael.
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Added example(s)


** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family.

to:

** No one bats an eye at the fact that Apollonia is a ''teenager'' when marrying an ''adult'' Michael. Similarly, a lot of emphasis is put on her virginity in the novel, as Michael can only court Apollonia in the presence of her family. While the movie version never specifies her age, the actress playing Apollonia was only 15 during filming. Yes, she was ''fifteen'' when she filmed an intimacy scene with the adult Al Pacino, which involved a topless scene. Definitely something Hollywood could get away with doing in 1972.
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Split trope


* CommonKnowledge: A minor example: Creator/RichardMatheson is often said to be one of the Senators in ''Part II'' (even [=IMDB=] listed him for a time), but he's uncredited on the film, Matheson himself denied appearing in the film, and there's no evidence beyond it being repeated ad nauseum. It's likely that the rumor started because of the presence of Creator/RogerCorman and ''Series/TheTwilightZone'' producer Buck Houghton in those scenes, both of whom collaborated with Matheson on different projects.

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* CommonKnowledge: A minor example: Creator/RichardMatheson is often said to be one of the Senators in ''Part II'' (even [=IMDB=] listed him for a time), but he's uncredited on the film, Matheson himself denied appearing in the film, and there's no evidence beyond it being repeated ad nauseum. It's likely that the rumor started because of the presence of Creator/RogerCorman and ''Series/TheTwilightZone'' ''Series/TheTwilightZone1959'' producer Buck Houghton in those scenes, both of whom collaborated with Matheson on different projects.
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* FountainOfMemes: Almost every piece of dialogue out of Vito Corleone is highly quotable. And being one of the most famous characters and performances in all of cinema, have been used or parodied in one shape or form.

to:

* FountainOfMemes: Almost every piece of dialogue out of Vito Corleone is highly quotable. And being As one of the most famous iconic characters and performances in all of cinema, have Vito Corleone has been used or parodied or referenced in one shape or form.form. With almost every line of dialogue uttered by him being quoted even to this very day.
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already there


** "May your first child be a masculine child."

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* OnceOriginalNowCommon: On account of being so ubiquitous in popular culture and influential, it's often lost how radical and innovative the film was when it came out:
** Until ''The Godfather'' there were many crime movies, many great films, that more or less covered the themes it did, but this was the first mainstream commercial film to fully embrace the perspective of a VillainProtagonist who remains sympathetic despite being and remaining a criminal who goes unpunished legally. It was the first film to fully take advantage of the end of the moral censorship of UsefulNotes/TheHaysCode, after all even ''Film/BonnieAndClyde'' ended (for historical reasons) with the charming villain protagonists dead. The sequels also subvert many of the old crime movie tropes, such as RedemptionQuest, the cops and the government trying to end the mob (they actually go into business together) and even the ''Film/AngelsWithDirtyFaces'' concept of a priest reforming a criminal in ''The Godfather Part III'', while also deconstructing and even mocking the idea of Italian-Americans needing to be a model minority from the [[WhiteAngloSaxonProtestant WASP]] establishment (who are shown in the film to be just as corrupt and not in any way morally superior), that was featured in the original ''Film/{{Scarface 1932}}''.
** People today, who are used to graphic violence in film and television, may not appreciate just how [[BloodierAndGorier shockingly violent]] this film was in 1972, thanks to the aforementioned abolishment of the Hays Code and a more general relaxation of social attitudes to graphic violence in the media. BloodlessCarnage and PrettyLittleHeadshots was the norm for many crime movies until this movie came along, which features some of the most gruesome killings ever put to celluloid even today. [[spoiler:The scene where Michael shoots a man in the head in a restaurant is particularly notable for showing bystanders splattered with the man's blood and brains, as is the infamous horse's head scene, which is ''still'' referenced in media today as a ShockingMoment symbolising the cruelty and efficiency of the Mafia.]]
** Fans of Creator/MartinScorsese's gangster films as well as ''Series/TheSopranos'' sometimes attack ''Film/TheGodfather'' for having a too romantic view of the mob and sentimentalizing TheMafia. At the time Coppola made the film, romanticizing the mob was the radical thing to do, since all gangster films before it had been too {{Anvilicious}} and painted gangsters as one-dimensional thugs with no personalities. To radically break from the tropes that existed before, Coppola and Puzo, went to the opposite end and overlaid the style (with Coppola even comparing it to an opera). The af films by Scorsese and others that followed were more realistic in emphasizing the violence and sociopathy [[TakeAThirdOption of the mob life but they also sought]] to make them three-dimensional relatable characters the way ''The Godfather'' did, which does at times make ''The Godfather'' take on the crime family and genre feel a little off, mixed as it is with EpicMovie and old-fashioned Hollywood touches.



* SeinfeldIsUnfunny: On account of being so ubiquitous in popular culture and influential, it's often lost how radical and innovative the film was when it came out:
** Until ''The Godfather'' there were many crime movies, many great films, that more or less covered the themes it did, but this was the first mainstream commercial film to fully embrace the perspective of a VillainProtagonist who remains sympathetic despite being and remaining a criminal who goes unpunished legally. It was the first film to fully take advantage of the end of the moral censorship of UsefulNotes/TheHaysCode, after all even ''Film/BonnieAndClyde'' ended (for historical reasons) with the charming villain protagonists dead. The sequels also subvert many of the old crime movie tropes, such as RedemptionQuest, the cops and the government trying to end the mob (they actually go into business together) and even the ''Film/AngelsWithDirtyFaces'' concept of a priest reforming a criminal in ''The Godfather Part III'', while also deconstructing and even mocking the idea of Italian-Americans needing to be a model minority from the [[WhiteAngloSaxonProtestant WASP]] establishment (who are shown in the film to be just as corrupt and not in any way morally superior), that was featured in the original ''Film/{{Scarface 1932}}''.
** People today, who are used to graphic violence in film and television, may not appreciate just how [[BloodierAndGorier shockingly violent]] this film was in 1972, thanks to the aforementioned abolishment of the Hays Code and a more general relaxation of social attitudes to graphic violence in the media. BloodlessCarnage and PrettyLittleHeadshots was the norm for many crime movies until this movie came along, which features some of the most gruesome killings ever put to celluloid even today. [[spoiler:The scene where Michael shoots a man in the head in a restaurant is particularly notable for showing bystanders splattered with the man's blood and brains, as is the infamous horse's head scene, which is ''still'' referenced in media today as a ShockingMoment symbolising the cruelty and efficiency of the Mafia.]]
** Fans of Creator/MartinScorsese's gangster films as well as ''Series/TheSopranos'' sometimes attack ''Film/TheGodfather'' for having a too romantic view of the mob and sentimentalizing TheMafia. At the time Coppola made the film, romanticizing the mob was the radical thing to do, since all gangster films before it had been too {{Anvilicious}} and painted gangsters as one-dimensional thugs with no personalities. To radically break from the tropes that existed before, Coppola and Puzo, went to the opposite end and overlaid the style (with Coppola even comparing it to an opera). The af films by Scorsese and others that followed were more realistic in emphasizing the violence and sociopathy [[TakeAThirdOption of the mob life but they also sought]] to make them three-dimensional relatable characters the way ''The Godfather'' did, which does at times make ''The Godfather'' take on the crime family and genre feel a little off, mixed as it is with EpicMovie and old-fashioned Hollywood touches.
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* When Tessio is revealed as one of the traitors in the Corleone family and is about to be led away to his execution, he begs Corleone lawyer and advisor to "let him off the hook". Years later, [[Creator/AbeVigoda Tessio's actor]] would become even more famous as a ''Series/BarneyMiller'' character known as "Fish".

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* ** When Tessio is revealed as one of the traitors in the Corleone family and is about to be led away to his execution, he begs Corleone lawyer and advisor to "let him off the hook". Years later, [[Creator/AbeVigoda Tessio's actor]] would become even more famous as a ''Series/BarneyMiller'' character known as "Fish".
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* When Tessio is revealed as one of the traitors in the Corleone family and is about to be led away to his execution, he begs Corleone lawyer and advisor to "let him off the hook". Years later, [[Creator/AbeVigoda Tessio's actor]] would become even more famous as a [[''Series/BarneyMiller'' character known as "Fish"]].

to:

* When Tessio is revealed as one of the traitors in the Corleone family and is about to be led away to his execution, he begs Corleone lawyer and advisor to "let him off the hook". Years later, [[Creator/AbeVigoda Tessio's actor]] would become even more famous as a [[''Series/BarneyMiller'' ''Series/BarneyMiller'' character known as "Fish"]]."Fish".

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** How can Michael reject Satan when he is [[Film/TheDevilsAdvocate Satan]].

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** How can Michael reject Satan when he is [[Film/TheDevilsAdvocate Satan]].Satan]]?
* When Tessio is revealed as one of the traitors in the Corleone family and is about to be led away to his execution, he begs Corleone lawyer and advisor to "let him off the hook". Years later, [[Creator/AbeVigoda Tessio's actor]] would become even more famous as a [[''Series/BarneyMiller'' character known as "Fish"]].
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** ''Part I'': Sonny, Apollonia, Moe, and Carlo all die, Barzini is the [[BigBad]], Michael has the heads of the other four families killed.
** ''Part II'': Fredo betrays Michael, Kaye has an abortion (not a miscarriage), Michael has Fredo killed.
** ''Part III'': Don Altobello is the traitor, Vinny kills Zaza, Mary dies at the end.

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** ''Part I'': [[spoiler: Sonny, Apollonia, Moe, and Carlo Carlo]] all die, Barzini [[spoiler: Barzini]] is the [[BigBad]], [[BigBad main villain]], Michael has [[spoiler: the heads of the other four families families]] killed.
** ''Part II'': Fredo [[spoiler: Fredo]] betrays Michael, Kaye has [[spoiler: an abortion (not a miscarriage), miscarriage)]], Michael has Fredo [[spoiler: Fredo]] killed.
** ''Part III'': [[spoiler: Don Altobello Altobello]] is the traitor, Vinny kills Zaza, Mary [[spoiler: Joey Zaza]], [[spoiler: Mary]] dies at the end.
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** Sonny dies in ''Part I''.
** Fredo betrays Michael in ''Part II''.
** Mary dies at the end of ''Part III''.

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** Sonny dies in ''Part I''.
** Fredo betrays
I'': Sonny, Apollonia, Moe, and Carlo all die, Barzini is the [[BigBad]], Michael in has the heads of the other four families killed.
**
''Part II''.
II'': Fredo betrays Michael, Kaye has an abortion (not a miscarriage), Michael has Fredo killed.
** ''Part III'': Don Altobello is the traitor, Vinny kills Zaza, Mary dies at the end of ''Part III''.end.
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** While Sony's BigBrotherInstinct is well-established, ''Part II'' reveals through a flashback that he introduced Connie to Carlo and pushed them towards one another. With that in mind, his violent anger towards Carlo for being such a shitty husband could also be motivated by [[ItsAllMyFault a sense of self-blame.]]

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** While Sony's Sonny's BigBrotherInstinct is well-established, ''Part II'' reveals through a flashback that he introduced Connie to Carlo and pushed them towards one another. With that in mind, his violent anger towards Carlo for being such a shitty husband could also be motivated by [[ItsAllMyFault a sense of self-blame.]]
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* FountainOfMemes: Almost every piece of dialogue out of Vito Corleone is highly quotable. And being one of the most famous characters and performances in all of cinema, has been used or parodied in one shape or form.

to:

* FountainOfMemes: Almost every piece of dialogue out of Vito Corleone is highly quotable. And being one of the most famous characters and performances in all of cinema, has have been used or parodied in one shape or form.
Is there an issue? Send a MessageReason:
None


* FountainOfMemes: Almost every scene with Vito Corleone in it is highly quotable. And being one of the most famous characters and performances in all of cinema, has been used or parodied in one shape or form.

to:

* FountainOfMemes: Almost every scene with piece of dialogue out of Vito Corleone in it is highly quotable. And being one of the most famous characters and performances in all of cinema, has been used or parodied in one shape or form.

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