#Philip Tattaglia

[francis-ford-kofola]

STOP talking shit about The Godfather antagonists

Don Barzini is POWERFUL

Virgil Sollozzo is SMOOTH

Hyman Roth is SMART

Joey Zasa is FASHIONABLE

Don Tattaglia

Don Fanucci is FUNNY

[askcheerbear]

This is one pf several reasons why Hugs and Tugs are so close.

Artist is moving houses right now and has been busy doing some heavy work moving furniture, so expect plenty of inactivity.

[alchillect]

"Barzini is dead. So is Philip Tattaglia, so are Strachi, Cuneo and Moe Greene..."

Do you pledge to guide and protect this child if he is left fatherless? Do you promise to shield him against the wickedness of the world?

Yes, I promise.

Do you renounce Satan.

I do renounce him.

And all his works?

I do renounce them.

Do you wish to be baptized?

I do wish to be baptized.

I christen you Michael Francis Rizzi.

By the way the baby held by Diane Keaton was played by infant Sophia Coppola.

[aion-rsa]

Once Upon a Time in America Is Every Bit as Great a Gangster Movie as The Godfather

https://ift.tt/38Ku8cF

This article contains Once Upon a Time in America spoilers.

The Godfather is a great movie, possibly the best ever made. Its sequel, The Godfather, Part II, often follows it in the pantheon of classic cinema, some critics even believe it is the better film. Robert Evans, head of production at Paramount in the early 1970s, wanted The Godfather to be directed by an Italian American. Francis Ford Coppola was very much a last resort. The studio’s first choice was Sergio Leone, but he was getting ready to make his own gangster epic, Once Upon a Time in America. Though less known, it is equally magnificent. 

Robert De Niro, as David “Noodles” Aaronson, and James Woods, as Maximillian “Max” Bercovicz, make up a dream gangster film pairing in Once Upon a Time in America, on par with late 1930s audiences seeing Humphrey Bogart and James Cagney team for The Roaring Twenties or Angels with Dirty Faces. Noodles and Max are partners and competitors, one is ambitious, the other gets a yen for the beach. One went to jail, the other wants to rob the Federal Reserve Bank. 

Throw Joe Pesci into the mix, in a small part as crime boss Frankie Monaldi, and Burt Young as his brother Joe Monaldi, and life gets “funnier than shit,” and funnier than their more famous crime films, Goodfellas and Chinatown, respectively. Future mob entertainment mainstays are all over Once Upon a Time in America too, and they are in distinguished company. This is future Oscar winner Jennifer Connelly’s first movie. She plays young Deborah, the young girl who becomes the woman between Noodles and Max, and she even has something of a catch-phrase, “Go on Noodles your mother is calling.” Elizabeth McGovern delivers the line as adult Deborah. 

When Once Upon a Time in America first ran in theaters, there were reports that people in the audience laughed when Deborah is reintroduced after a 35-year gap in the action. She hadn’t aged at all. But Deborah is representational to Leone, beyond the character.

“Age can wither me, Noodles,” she says. But neither the character nor the director will allow the audience to see it beyond the cold cream. Deborah is the character Leone is answering to. She also embodies the fluid chronology of the storytelling. She is its only constant.

The rest of the film can feel like a free fall though. Whereas The Godfather moved in a linear fashion, Once Upon a Time in America has time for flashbacks, and flashbacks within flashbacks, and detours that careen between the violent and the quiet. It’s a visceral experience about landing where we, and this genre, began.

Growing up Gangster

Both The Godfather and Once Upon a Time in America span decades; it’s the history of immigrant crime in 20th century America. But they differ on chronological placement. Once Upon a Time is set in three time-frames. The earliest is 1918 in the Jewish ghettos of New York City’s Lower East Side. 

Young Noodles (Scott Tiler), Patrick “Patsy” Goldberg (Brian Bloom), Philip “Cockeye” Stein (Adrian Curran) and Dominic (Noah Moazezi), are a bush league street gang doing petty crimes for a minor neighborhood mug, Bugsy (James Russo). New on the block, Max (Rusty Jacobs) interrupts the gang as they’re about to roll a drunk, and Max makes off with the guy’s watch for himself. He soon joins the gang, and they progress to bigger crimes.

The bulk of the film takes place, however, from when De Niro’s Noodles gets out of prison in 1930, following Bugsy’s murder, and lasts until the end of Prohibition in 1933. Max, now played by Woods, has become a successful bootlegger with a mortuary business on the side. With William Forsythe playing the grown-up Cockeye and James Hayden as Patsy, the mobsters go from bootlegging through contract killing, and ultimately to backing the biggest trucking union in the country as enforcers. They enjoy most of their downtime in their childhood friend Fat Moe’s (Larry Rapp) speakeasy. Noodles is in love with Fat Moe’s sister, Deborah, who is on her way to becoming a Hollywood star. The gang’s rise ends with the liquor delivery massacre.

The final part of the film comes in 1968. After 35 years in hiding, Noodles is uncovered and paid to do a private contract for the U.S. Secretary of Commerce Christopher Bailey…  Max by a different name who 35 years on has been able to feign respectability and make Deborah his mistress. An entire life has become a façade.

Recreating a Seedier Side of New York’s Immigrant Past

While The Godfather is an adaptation of Mario Puzo’s fictional bestseller, Once Upon a Time in America is based on the autobiographical crime novel, The Hoods. It was written by Herschel “Noodles” Goldberg, under the pen name of Harry Grey while he was serving time in Sing-Sing Prison. 

Coppola’s vision in The Godfather is aesthetically comparable to Leone’s projection. From the opium pipes at the Chinese puppet theater to the take-out Lo Mein during execution planning, the multicultural world of old New York crowds the frames and the players in both films. Most of Once Upon a Time in America was shot at Rome’s Cinecittà Studios. The 1918 Jewish neighborhood in Manhattan was a street in Williamsburg, Brooklyn, which was made to look exactly as it had 60 years earlier.

Leone skillfully, yet playfully, captures the poverty of immigrant life in New York. The first crime we see the four-member gang commit could have been done by the Dead End kids. They torch a newspaper stand because the owner doesn’t kick up protection money to the local mug. And like the Dead End kids, they needle their mark, and joke with each other. At the end of the crime, Cockey is playing the pan pipe, and the very young Dominic is dancing. They are proud of their work and enjoy it. It’s fun to break things for money. And even better when they get a choice between taking payment in cash or rolling it over into the sure bet of rolling a drunk.

Violence without the Cannoli

Gangster films, like Howard Hawks’ Scarface and William A. Wellman’s The Public Enemy, were always at the forefront of the backlash to the Motion Picture Production Code. Which might be why gangster pictures were one of the first genres to benefit from the censors’ fall. A direct line can be drawn from the machine gun death which ends Bonnie and Clyde (1967) to the toll-booth execution of Sonny Corleone (James Caan)  in The Godfather. Another from when Moe Greene (Alex Rocco) gets one through the glasses and Joe Monaldi gets it in the eye in Once Upon a Time in America.

The Godfather has some brutal scenes. We get a litany of dead Barzinis and Tattaglias, horse heads and spilled oranges. Once Upon a Time in America ups the ante though. The shootings and stabbings are neat jobs compared with the beatings, which allow far more artistic renderings of gore, and pass extreme scrutiny. The one time the effects team balks at a payoff is when it’s not as gruesome as the setup.

“Inflammatory words from a union boss,” corporate thug Chicken Joe asks as he is about to light Jimmy “Clean Hands” Conway O’Donnell on fire. The mobster has such a nice smile, and the union delegate, played by Treat Williams, looks so pathetic while dripping gasoline that it feels like it might even be a mercy killing. It is a wonderful set piece, perfectly executed and timed. When Max and Noodles, and the gang defuse the situation, rather than ignite it, it is a lesson in the dangerous balance of suspense.

Like many specific scenes in Once Upon a Time in America, Conway’s incendiary introduction would’ve worked in any era. This is the turning point for the gang. The end of Prohibition is coming and all those trucks they’re using to haul liquor can be repurposed for a more lucrative future. 

“You Dancing?”

Music is paramount in both Leone’s and Coppola’s films. The Godfather is much like an opera, the third installment even closes the curtain at one. Once Upon a Time in America is a frontier film. The score was composed by Ennio Morricone, who wrote the music behind Leone’s A Fistful of Dollars, For A Few Dollars More, and The Good, the Bad and the Ugly.

The film opens and closes with Kate Smith’s version of “God Bless America.” Though the scene occurs during the 1968 timeframe, the song comes out of the radio of a car seemingly from another point in time.

Morricone’s accompaniment to Once Upon a Time in America is as representational as Nino Rota’s soundtrack in The Godfather. Characters, settings, situations, and relationships all have themes, which become as recognizable as the Prohibition-era songs which flavor the period piece’s ambience. Fat Moe conducts the speakeasy orchestra through José María Lacalle García’s “Amapola” while grinning dreamily to Deborah who is chatting with Noodles. He’s a romantic.

Read more

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The music becomes part of the action in Once Upon a Time in America. Individual couples cut their own rugs, doing the Charleston between tables as waiters and cigarette girls glide by. Cockeye, who has been playing the pan pipe since the beginning of the film, wants to sit in with the band. 

Forsythe almost steals Once Upon a Time in America. He cries what look like real tears at the mock funeral for Prohibition and drinks formula from a baby bottle during the maternity ward scene. The blackmail scheme, which involves swapping infants, plays like an outtake from a Three Stooges movie, something Coppola would never dare for The Godfather. The ruse is choreographed to the tune of Gioachino Rossini’s “The Thieving Magpie,” which elicits the youthful thuggery celebrated in Stanley Kubrick’s A Clockwork Orange. 

Devils with Clean Faces

One ironic difference between the two films is whimsy. The Godfather, which glorifies crime as corporate misadventure, is a serious movie with no time for funny business. Once Upon a Time in America, which is an indictment of criminal life, has moments of innocence as syrupy as in any family film (of the non-crime variety) and can be completely kosher. It’s sweeter than the cannoli Clemenza (Richard Castellano) took from the car, or the cake Nazorine (Vito Scotti) made for the wedding of Don Vito’s daughter. 

The scene where young Patsy brings a Charlotte Russe to Peggy in exchange for sex is a masterwork of emotive storytelling. He chooses a treat over sex. On one level, yes, this is a socioeconomic reality. That pastry was expensive and something he could never afford to get for himself. But as Patsy sneaks each tiny bit of the cream from the packaging, he is also just a child, a kid who wants some cake. He learns he can’t have it and eat it. It is so plainly laid out, and so beautifully rendered.

The Corleone family never gets those moments, not even in the flashbacks to Sicily or as children on the stoop listening to street singers play guitars. We know little of Michael Corleone (Al Pacino) or Sonny as youngsters, much less teenagers, and are robbed of their happier moments of bonding. We know they are close, they are family. But Michael has his own brother killed while Noodles balks at the very idea. Twice, as it turns out.

Read more

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Mob Antipasta: Best Gangster Movie Food Scenes

By Tony Sokol

“Today they ask us to get rid of Joe. Tomorrow they ask me to get rid of you. Is that okay with you? Cos it’s not okay with me,” Noodles tells Max after the gang delivers on a particularly costly contract, double-crossing their partners in a major diamond heist. They are not blood family, but from the moment Max calls Noodles his “uncle” to fool a beat cop, they are all related. 

Noodles then does what young men in coming-of-age movies have done since Cooley High: Something really stupid. An indulgence the Corleones could never enjoy. He speeds the car into the bay. The guys can’t believe it. It adds to his legend. The scene could have been in Diner, Ferris Bueller’s Day Off, or even Thelma & Louise. It is hard to dislike the gangsters in these moments. We know them too well, even as they do such horrible things.

How Women are Really Treated by an Underworld

The Godfather is told from the vantage point of one of the heads of the five established crime families; organized crime is as insular as the Corleone mall on Long Beach. That motion picture reinvigorated the “gangster film,” long considered a ghetto genre, but its perspective is insulated. By contrast, no matter how far they climb, Leone’s characters never really get off the block. They are street savages, even in tuxedos. Once Upon a Time in America whacked the gangster film, and tossed its living corpse into the compactor of a passing garbage truck.

The Godfather doesn’t judge its gangsters. The Corleones are family men who keep to a code of ethics and omerta. They dip their beaks in “harmless” vices like gambling, liquor, and prostitution. While there are scenes of extreme domestic violence, and a general dismissal of women, the film stops short of challenging the image of honorable men who do dishonorable things. Leone offers no such restraint. His history lesson is unabridged.

Long before Martin Scorsese’s The Irishman stripped gangster lore to a tale of toxic masculinity, Once Upon a Time in America robbed it of all glamor. There is a very nonchalant attitude toward violence and other demeaning acts against women in Leone’s film, from the very opening scene where a thug fondles a woman’s breast with his gun in order to humiliate her civilian date.

This is deliberate. The director, best known for Spaghetti Westerns, wants to obliterate any goodwill the gangsters have accumulated through their magnetic antiheroism. One scene between Max and his girlfriend Carol (Tuesday Weld) is so hard to sit through, even the other members of the gang squirm in their chairs.

Noodles sexually assaults two women over the course of the film. While there is some motivational ambiguity in the scene during the jewel heist attack, the rape of Deborah is devastatingly direct. It kills any vestige of romance the gangster archetype has in film. The camera does not look away, and the scene lingers with terrifying ferocity and traumatic intimacy. There is a visible victim, and Noodles’ wealth and pretensions of honor are worthless.

The Ultimate Gangster Epic

Once Upon a Time in America brings one other element to the genre which The Godfather avoids, a lingering mystery. Coppola delivers short riddles, like the fate of Luca Brasi, which are revealed as the story warrants. But the 35-year gap between the slaughter of Noodles’ crew and the introduction of Secretary Bailey is almost unfathomable. How did Max go from long-dead to a man with legitimate power?

What happens to Noodles in those years is fairly easy to guess, without any specifics. He got by. The gang’s shared secret bankroll was empty when he tried to retrieve it as the last surviving member. He put his gun away and eked out a quiet life. But even as the details spill out on the true fate of Max, it is unexpectedly surprising, as much for the audience as Noodles.

“I took away your whole life from you,” Max/Bailey says. “I’ve been living in your place. I took everything. I took your money. I took your girl. All I left for you was 35 years of grief over having killed me. Now why don’t you shoot?” This final betrayal, and Noodles’ inert revenge, take Once Upon a Time In America into almost unexplored cinematic depths. 

Max has gone as low as he could go. The joke is on Noodles, everyone’s in on it, including “Clean Hands,” who is tied in to “the Bailey scandal.” The cops are in on it, and so is the mob. Max admits even the liquor dropoff was a syndicate set-up. He’d planned this all along. Just like Michael Corleone had a long term strategy to make his family legitimate. 

This is an ambitious story. Beyond genre, this bends American celluloid into European cinema. By sheer virtue of being outside of Hollywood, Leone transcends traditional boundaries. He has a far more limitless pallet to draw from. He can aim a camera at De Niro’s spoon in a coffee cup for three minutes and never lose the audience’s rapt attention. Leone can pull the rug out from everything with a last minute reveal. Coppola bent American filmmaking for The Godfather, but stayed within proscribed parameters. He never gets as sweet as a Charlotte Russe nor as repulsive as the back seat of a limo. 

Once Upon a Time in America ripped the genre’s insides out and displayed them with unflinching veracity and theatrical beauty. It is a perfect film, gorgeously shot, masterfully timed, and slightly ajar.

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The post Once Upon a Time in America Is Every Bit as Great a Gangster Movie as The Godfather appeared first on Den of Geek.

from Den of Geek https://ift.tt/3yRxHIy

[marsia-caruso-blog]

Non Dimenticarmi - Chapter II

Check out this story on AO3 and Wattpad too!

warnings: occasional crude language, violence, death, crime, fluff, mentions of sex (these warnings do not apply just yet)

fandom: The Godfather (films)

relationships: female oc Marsia / Michael Corleone

chapters: 2/?

published: 1-19-19, updated 2-13-19

Marsia Selini Caruso is a young and ambitious young woman growing up in the dirty thirties and fightin’ forties. Her father, Riccardo Caruso, is the boss of one of the smallest crime families in America. Against all customs and traditions, Marsia becomes consigliere of the Caruso Family. When she meets Michael Corleone, a man who just so happens to be involved in one of the most powerful organized crime groups, what will the future of the two families- and the two people- turn out to be?

     “Please pay attention to the conversation, figlia.” Riccardo Caruso gave his daughter a stearn glare. “Sì, papà,” replied a startled Marsia. She was unintentionally staring off into space as she thought about her proposal that would later be mentioned to her father.

    The Don sat at his desk and discussed with Carl what he wanted to happen later tonight. There was to be a meeting between Riccardo and Philip Tattaglia, head of the Tattaglia crime family. He knew that there would be death tonight, and he figured it would not be one of his own men. Tattaglia would take with him a man who would pull the trigger on Riccardo. That’s why he was going to take Carl. He would make the first move. Tattaglia’s man wouldn’t even have his hand on his gun when Carl shot him, preferably leaving him dead.

    “So you’re gonna be here at the house alone. Don’t go digging around through my stuff, you understand me?” Marsia’s dad had his eye on her.

    “Gotcha pop. You’ll come back and find this place just like you left it,” she replied, putting a charming smile on. There was no way that her curiosity wouldn’t get the best of her. The old saying goes, “Curiosity killed the cat, but satisfaction brought it back.”

                                                        ~

    Riccardo and Carl got in the black car and drove off with Enzo as the driver. They pulled out of the driveway and went down the dark street. It was a rainy night, so everything seemed more dreary than it actually was. But truthfully, Marsia loved rain. She particularly loved thunderstorms, watching the bright flashes of lighting zip across the sky, and following close behind, the loud and powerful thunder bursts. The reason Marsia loved them so she doesn’t know, but she always felt somehow connected to them.

    The doorway from which she saw the two off was empty. The hallway, the dining room, the living area and all the bedrooms were empty. There wasn’t a soul to interrupt Marsia’s adventures.

    She started in her father’s office where all the important business took place. She’d spent hours in there as a kid when Riccardo didn’t have anything going on. And when he had things to do, she put her ear up to his door and listened in.

    From this, Marsia learned a majority of what she knew now. What to do in certain situations and how to handle them. Her father also taught her important traits, like honesty, open mindedness, and reliability. He also said to have patience, but not to be overly tolerant.

    All these things Marsia found value in, but she thought the most important thing he taught her was how to be so deceitful. “A man can get anywhere in life as long as he has deceit,” he repeated that to her almost daily when she was a child. She grew up and figured out he was right. All over the country, and world for that matter, men of no talent were put on pedestals and treated as kings just because they knew how to work their way up. Even in the darkest of times, they kept their fears and emotions hidden as to not show any signs of weakness. Who is a man if he has not deceit?

    Marsia twisted the knob of the dark oak door and stepped inside the office. An antique mirror leaned up against one of the walls. It was her father’s grandpa’s mirror and was handmade in Sicily all those years ago. After Riccardo’s father Sergio passed, it was handed down to him and he brought it with him as he came to America.

    In its reflection, she saw a woman, average height, average weight, average body. She only thought of herself as average. But other men, especially Vinnie Zampa, one of Carl’s soldatos, thought she was beyond magnificent. Any time he was around Marsia, all he did was show off. She thought it was funny, watching him try so desperately to be noticed. But she wasn’t sure of Vinnie’s liking for her. They barely ever talked, so they barely knew each other. She figured he liked her simply because of her looks. Still, it felt wonderful to be desired.

    In the corner of the room sat Riccardo’s desk. Marsia drifted over to it and the first thing she noticed was a manilla folder comprising a large stack of papers. She opened it and found them to be letters written to her father from Tom Hagen, the Corleone Family’s consigliere. She skimmed over his writing, sharp and quick, as she noted. Tom mentioned things like deals, shipments and… narcotics. Drugs were dangerous things to get involved in, Marsia decided some time ago. Maybe they would be better than gambling or alcohol later on, but not now.

    Marsia closed the folder and walked over to the window. It was still raining outside and it was coming down hard. The droplets beat up against the window like drums. There was no thunder or lightning, just a shower.

    Just as she was getting lost in thought, the phone rang. She walked back over to the desk and was about to answer it, but she hesitated. “What if it’s my dad, testing if I’d pick up the phone? Would he want me to do that? He said I was going to be in the house alone, but that didn’t necessarily mean I was in charge,” she asked herself. Then Marsia realised that, after all, she is the consigliere, so she does have a reason to answer. Her hand gripped the black phone and picked it up.

    “Yeah,” she answered.

    “Who’s this?” It was a man’s voice, one that Marsia recognized, but she couldn’t put a finger on it. She was pretty sure he was one of theirs.

    “Tell me who you are first. And yes, I have a reason to be here,” she was certain that he’d be curious as to why a woman was answering Don Riccardo’s phone.

    “It’s Frank. Marino.” Now she knew who it was. Marsia had met Frank quite a few times, and he came over for dinner almost once a week.

    “This is Marsia, Riccardo’s daughter. Can I help you? Leave a message?”

    “What business do you have taking the boss’s calls?”

    “I’m the consigliere, didn’t you know? I have the right to answer the phone.” Frank paused as he heard this news. Now that he thought about it, the boss had told him about that last month. He didn’t like the idea of a woman being so far up in ranking, but he trusted Riccardo, so he trusted what he did. That meant he also trusted Marsia.

    “Yeah, yeah, I knew that. Just surprised me a bit, you know?”

    Marsia rolled her eyes. “I understand what you mean. Now, what were you calling here for?”

    “I’m outside of Pucelli’s, where your father and Tattaglia are meeting. I thought Carl was supposed to stay at the house,” Frank answered.

    “Not what papà said to me. He figured Tattaglia would have a guy there so he brought one of his own.”

    “Seems he was right. Carl and the other fella have been giving dirty looks to each other the whole time.”

    “So why are you at Pucelli’s?” Marsia wondered. Her father didn’t mention anything about having Frank out there too.

    “Ricco told me to keep an eye on the Don. Guess he thought Riccardo might need some backup, but I’m pretty sure he’s got it covered.”

    “Okay, that’s good,” she saw a note from the corner of her eye on the desk. It mentioned something about talking with Tom Hagen about Marsia, but it didn’t say what exactly they would talk about. “Hey, um, Frank?”

    “Yeah?”

    “Do you happen to know anything about how my father thinks of me?” There was a long pause over the phone.

    “I mean, I don’t really talk to your father, but he never says anything bad about you. Any time I see him he’s always caught up in his work so very few words are ever passed. Why?”

    “No reason. Just curious,” Marsia lied. She wanted to know why those two needed to talk about her. Had she done something wrong? She didn’t think so. “Alright, well thanks for calling. Keep an eye on my father and Carl.”

    “Will do,” answered Frank as he hung up the phone.

[dalekofchaos]

The Godfather remake fancast

This is just for fun. I don’t think it will or should be remade. 

My other remake fancasts

Scarface

Back To The Future

Terminator

Robocop

Star Wars The Original Trilogy

Star Wars The Prequel Trilogy

Robert De Niro as Don Vito Corleone 

Diane Keaton as Carmella Corleone

Tom Hiddleston as Michael Corleone

Scott Caan as Santino “Sonny” Corleone

Joaquin Phoenix as Fredo Corleone

Christian Bale as Tom Hagen

Amy Adams as Kay Adams

Michela Quattrociocche as Apollonia

Anne Hathaway as Connie Corleone

Channing Tatum  as Johnny Fontane

Paul Sorvino as Pete Clemenza

Frank Langella as Salvatore Tessio

Vincent D'Onofrio as Luca Brassi

Chris Pine as Rocco Lampone

Vincent Pastore as Don Tommasino

Robert Patrick as Al Neri

Vincent Piazza as Paulie Gatto

Chris Cooper as Jack Woltz

Michael Pitt as Carlo Rizzi

Oscar Isaac as Virgil "The Turk" Sollozzo

Sam Rockwell as  Bruno Tattaglia

Harvey Keitel as Don Philip Tattaglia

Ed Harris as Captain Mark McClusky  

Eric Roberts as Don Emilio Barzini

Chazz Palminteri as Don Victor Stracci

Tony Sirico as Don Carmine Cuneo

Aidan Gillen as Moe Green

[myselfcorleone]

“ Brazini’s dead. So is Philip Tattaglia.Moe green,Strachi-cuneo. Today I settle all family business....#godfather #thecdgs #alpacino #moegreen #tattaglia #brazini #robertdeniro #marlonbrando #francisfordcoppola (at New York, New York) https://www.instagram.com/p/BvZ9OAxF1fX/?utm_source=ig_tumblr_share&igshid=1s1xyd25tl50g

[thatsmovietalk]

Just Pinned to Al Pacino: "Barzini's dead. So is Philip Tattaglia. Moe Greene, Strachi - Cuneo. Today I settle all family business…" - Don Michael Corleone https://ift.tt/2UHhQsR

[sharkchunks]

(Godfather Spoilers)

Characters in The Godfather as last seen before their deaths:

Khartoum

Luca Brasi

Paulie Gatto

Virgil Sollozzo

Captain Mark McCluskey

Sonny Corleone

Appolinia Vitelli

Vito Corleone

Anthony Stracci

Moe Green

Carmine Cuneo

Philip Tattaglia

Emilio Barzini

Carlo Rizzi

[effyfashionkilla]

The Godfather 🔫

[askcheerbear]

A little more specific next time, please? Thanks