Then, as it becomes almost unbearable, he stands and he shoots. Italian, without subtitles, plays over the shot, making us feel as disorientated as Michael. And when he sits back down, a 30-second close-up of his face - eyes flickering from side to side, lizard-like, as he musters up courage to do what must be done - is augmented not by cliched suspenseful music, but by the rumble of an elevated train, a hellish industrial sound effect that reflects the horror churning in his stomach. He runs his hands through his hair, wracked with tension. When he heads to the WC, Coppola draws out the tension exquisitely - Michael fumbles for the gun, but can’t find it, until suddenly it’s there. It’s clear that Michael’s emotions are boiling over, yet he’s suppressing them just enough that his two dining companions don’t get wise. The subsequent sequence is a tour de force in every sense.
Instead, this is where Michael Corleone is going to serve up street justice to go with the veal: according to the plan that’s been cooked up, midway through his tense dinner with rival mobster Sollozzo and corrupt cop McCluskey he’ll retrieve a gun that’s been stashed behind the loo, return to the table, then blast both men with bullets. You know, the box and chain thing.” Turns out, Tessio isn’t just very particular about how he goes to the commode. Louis Restaurant, a humble eatery located in The Bronx, is, according to Corleone lieutenant Salvatore Tessio (Abe Vigoda), “A small family place, good food. It begins with a Godfather version of a TripAdvisor review.
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