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Vito Coppola

Strictly men 🪩

4,345 subscribers

140,656 Aufrufe • vor 6 Monaten •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

16 Kommentare

Profilbild von DarkGa ✨🖤 He/Him

DarkGa ✨🖤 He/Himvor 6 Monaten

Can he do that to me too? Lol

Profilbild von Strictly men 🪩

Strictly men 🪩vor 6 Monaten

Get in line 🤪😂

Profilbild von Kiwifruitlover

Kiwifruitlovervor 6 Monaten

I need his balls, not the one on the wall

Profilbild von Regulus Noir

Regulus Noirvor 6 Monaten

I think it’s working. My pants got tighter.

Profilbild von A TV Friend 📺 🍭 Strictly Saturday 🕺🏻💃

A TV Friend 📺 🍭 Strictly Saturday 🕺🏻💃vor 6 Monaten

Omg 🤩🤩🤩 hell on earth

Profilbild von Martin Muldoon

Martin Muldoonvor 6 Monaten

I’ve always wondered what heaven looked like 🥵🥵

Profilbild von The Deescreet💦

The Deescreet💦vor 6 Monaten

Che bono

Profilbild von legwhobrix

legwhobrixvor 6 Monaten

I don’t have any walls in my flat that don’t have something against or in front of them.

Profilbild von Ильяс ✨

Ильяс ✨vor 6 Monaten

Вот бы моё лицо вместо шара...

Profilbild von Anne Lillian

Anne Lillianvor 6 Monaten

Is someone pranking him again. And what is the banana in the mouth for. And why the black glove.

Profilbild von Brian Thompson

Brian Thompsonvor 6 Monaten

Do you get more stunning?

Profilbild von HelloSaysBear

HelloSaysBearvor 6 Monaten

Dios mio...😍😍😍

Profilbild von Another pretentious piffler toothless not homeless

Another pretentious piffler toothless not homelessvor 6 Monaten

At that age where I’m actually taking notes for the exercise lol But yes……oh my

Profilbild von Strictly men 🪩

Strictly men 🪩vor 6 Monaten

😂

Profilbild von LorRaine😍👩🏻‍🎓🎼

LorRaine😍👩🏻‍🎓🎼vor 6 Monaten

Happily! 🎈

Profilbild von wim

wimvor 6 Monaten

🔥🤗🙋🏼‍♂️

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The scene “Fanucci’s dead” in The Godfather Part II is a deleted scene that adds more detail to Don Fanucci’s death. It shows more clearly how Vito Corleone eliminates the extortionist of the Italian community, emphasizing the turning point that transforms Vito into a powerful figure. In this cut sequence, the aftermath of the shooting is highlighted more strongly, underlining Vito’s ruthlessness and decisiveness. The scene reinforces his rise as the true Don of Little Italy, though Coppola ultimately trimmed it for pacing and impact.

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The man who stops to greet Vito in this scene from The Godfather Part II was actually just an extra named Carmelo Russo. He was supposed to walk past Robert De Niro without saying anything, but during the take he decided to stop, shake his hand and greet him. Coppola reportedly wasn’t happy that Russo had gone off script, but De Niro liked what it added to the scene. Vito had become such a respected figure in the neighborhood that even someone passing him in the street would stop to pay their respects. The unscripted moment ended up staying in the film.

The man who stops to greet Vito in this scene from The Godfather Part II was actually just an extra named Carmelo Russo. He was supposed to walk past Robert De Niro without saying anything, but during the take he decided to stop, shake his hand and greet him. Coppola reportedly wasn’t happy that Russo had gone off script, but De Niro liked what it added to the scene. Vito had become such a respected figure in the neighborhood that even someone passing him in the street would stop to pay their respects. The unscripted moment ended up staying in the film.

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Francis Ford Coppola did not stage Don Vito Corleone's meeting with Sollozzo to tell a story about the drug trade. He staged it to reveal what truly holds a family together—not power or profit, but the invisible standards its members choose to uphold together. When Virgil "The Turk" Sollozzo walks into Don Vito Corleone's office, he brings an offer that almost no Mafia family could easily refuse. A million-dollar investment. Thirty percent of the profits. A business that promises unimaginable wealth. Don Vito refuses. But Francis Ford Coppola does not end the scene there. He knows the real turning point has not yet arrived. It comes when Sonny unexpectedly speaks. "The Tattaglia family guarantees our investment, right?" Just one sentence. Yet Coppola immediately cuts away from Sonny. He does not linger on the man who speaks. Instead, he shows the people who hear him. Sollozzo. Don Vito. Tom Hagen. Clemenza. No one says a word. No one explains what has just happened. Yet the silence tells almost the entire story. Sollozzo understands something. Tom Hagen understands something. Clemenza understands it as well. Only Sonny fails to realize what he has just revealed. It is a remarkable directorial choice. If Coppola simply wanted to show that Sonny was impulsive, he did not need those four reaction shots. Don Vito could have rebuked his son immediately. Instead, Coppola lets the audience study the faces of the people who have lived long enough to recognize what has just surfaced. They are not reacting to Sonny's words. They are reacting to what those words reveal. Sollozzo does not see an opportunity to make money. He sees that someone within the Corleone family no longer stands on the same principles as Don Vito. That alone is enough. From that moment, his entire strategy changes. Even more revealing is Don Vito's response. He does not lose his temper. He does not interrupt the meeting. He does not allow emotion to disturb the order of the room. He calmly pours wine. He observes every courtesy. He escorts Sollozzo out as an honored guest. Only after the door has closed does he turn to Sonny. "Never tell anyone outside the family what you're thinking again." The line is often remembered as a lesson in negotiation. But Coppola's staging suggests something deeper. Don Vito is not correcting a careless remark. He recognizes what gave birth to that remark. A single sentence does not change a family. A family begins to change when its members no longer uphold the same standards they once regarded as non-negotiable. That is why Coppola spends so much of the first half of The Godfather establishing Sonny's character. Not merely to show that he is hot-headed. But to show that his words during the meeting are not a momentary lapse. They are the visible result of a gradual shift in how he understands power, profit, and responsibility. The meeting with Sollozzo does not create that shift. It simply reveals it for the first time. Through one sentence, Sollozzo realizes that the Corleones no longer see the world in exactly the same way. That is why Coppola does not allow the tragedy to begin with the attempt on Don Vito's life. The shooting is only the consequence. The true beginning comes earlier—when the principles that once united the family are no longer upheld by everyone alike. In The Godfather, the Mafia is only the setting. What truly interests Coppola is not how a crime family operates, but what enables any family to endure. A family may pursue many goals and many interests. Yet shared interests alone are never enough to hold it together. What preserves a family is the shared conviction that there are certain lines no one should cross, even when crossing them promises greater rewards. Once those lines are no longer honored together, the change does not remain confined to one individual. It gradually spreads through the entire family. And that is where the real tragedy begins.

Francis Ford Coppola did not stage Don Vito Corleone's meeting with Sollozzo to tell a story about the drug trade. He staged it to reveal what truly holds a family together—not power or profit, but the invisible standards its members choose to uphold together. When Virgil "The Turk" Sollozzo walks into Don Vito Corleone's office, he brings an offer that almost no Mafia family could easily refuse. A million-dollar investment. Thirty percent of the profits. A business that promises unimaginable wealth. Don Vito refuses. But Francis Ford Coppola does not end the scene there. He knows the real turning point has not yet arrived. It comes when Sonny unexpectedly speaks. "The Tattaglia family guarantees our investment, right?" Just one sentence. Yet Coppola immediately cuts away from Sonny. He does not linger on the man who speaks. Instead, he shows the people who hear him. Sollozzo. Don Vito. Tom Hagen. Clemenza. No one says a word. No one explains what has just happened. Yet the silence tells almost the entire story. Sollozzo understands something. Tom Hagen understands something. Clemenza understands it as well. Only Sonny fails to realize what he has just revealed. It is a remarkable directorial choice. If Coppola simply wanted to show that Sonny was impulsive, he did not need those four reaction shots. Don Vito could have rebuked his son immediately. Instead, Coppola lets the audience study the faces of the people who have lived long enough to recognize what has just surfaced. They are not reacting to Sonny's words. They are reacting to what those words reveal. Sollozzo does not see an opportunity to make money. He sees that someone within the Corleone family no longer stands on the same principles as Don Vito. That alone is enough. From that moment, his entire strategy changes. Even more revealing is Don Vito's response. He does not lose his temper. He does not interrupt the meeting. He does not allow emotion to disturb the order of the room. He calmly pours wine. He observes every courtesy. He escorts Sollozzo out as an honored guest. Only after the door has closed does he turn to Sonny. "Never tell anyone outside the family what you're thinking again." The line is often remembered as a lesson in negotiation. But Coppola's staging suggests something deeper. Don Vito is not correcting a careless remark. He recognizes what gave birth to that remark. A single sentence does not change a family. A family begins to change when its members no longer uphold the same standards they once regarded as non-negotiable. That is why Coppola spends so much of the first half of The Godfather establishing Sonny's character. Not merely to show that he is hot-headed. But to show that his words during the meeting are not a momentary lapse. They are the visible result of a gradual shift in how he understands power, profit, and responsibility. The meeting with Sollozzo does not create that shift. It simply reveals it for the first time. Through one sentence, Sollozzo realizes that the Corleones no longer see the world in exactly the same way. That is why Coppola does not allow the tragedy to begin with the attempt on Don Vito's life. The shooting is only the consequence. The true beginning comes earlier—when the principles that once united the family are no longer upheld by everyone alike. In The Godfather, the Mafia is only the setting. What truly interests Coppola is not how a crime family operates, but what enables any family to endure. A family may pursue many goals and many interests. Yet shared interests alone are never enough to hold it together. What preserves a family is the shared conviction that there are certain lines no one should cross, even when crossing them promises greater rewards. Once those lines are no longer honored together, the change does not remain confined to one individual. It gradually spreads through the entire family. And that is where the real tragedy begins.

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There are two deleted scenes in The Godfather that were originally supposed to take place after Connie’s wedding. In them, Michael Corleone accompanies his father, Vito, and his two brothers to visit the dying Genco Abbandando, the family’s consigliere, in the hospital. In his preproduction notes, Francis Ford Coppola wrote that he wanted these scenes “to further define and provoke Michael’s relationship to the Don,” adding, “We can see that although they are strained together, the Don is immensely interested in Michael.” The main source of tension between them was Michael’s decision to join the Marines after the United States entered World War II several years earlier. The novel reveals the extraordinary lengths Vito went to in an attempt to keep his youngest son out of the war. “Don Corleone had no desire, no intention, of letting his youngest son be killed in the service of a power foreign to himself. Doctors had been bribed, secret arrangements had been made. A great deal of money had been spent to take the proper precautions.” But against Vito’s wishes, Michael enlisted and went on to become a captain and decorated war hero. His photograph was even published in Life magazine, prompting Vito to remark disdainfully, “He performs those miracles for strangers”—a line Coppola later reworked into the second deleted scene. After being wounded, Michael briefly returned home before leaving again to attend Dartmouth College, choosing to pursue his own education and future without consulting his father. By the time he returns for Connie's wedding, he has spent years deliberately distancing himself from both Vito and the Corleone family. Coppola reinforces that separation visually during the wedding scene. Michael is presented in his Marine uniform while the rest of the family are dressed in black. Rather than standing with Vito and his brothers, he sits in a secluded corner of the garden with Kay Adams. As Puzo writes, Michael sits there “to proclaim his chosen alienation from father and family.” Kay further emphasizes that divide. She is the outsider, the “American girl” whom the Corleones immediately judge and reject: “Beside him sat the American girl everyone had heard about but whom no one had seen until this day. He had, of course, shown the proper respect and introduced her to everyone at the wedding, including his family. They were not impressed with her. She was too thin, she was too fair, her face was too sharply intelligent for a woman, her manner too free for a maiden.” The phrase “the American girl” is significant because it is exactly how Vito derisively refers to Kay in the first deleted scene. It was probably wise for Coppola to leave these scenes out, since the film was already very long. But they're interesting to look at as they reveal an early tension between Michael and Vito that the finished version never gets the chance to explore.

There are two deleted scenes in The Godfather that were originally supposed to take place after Connie’s wedding. In them, Michael Corleone accompanies his father, Vito, and his two brothers to visit the dying Genco Abbandando, the family’s consigliere, in the hospital. In his preproduction notes, Francis Ford Coppola wrote that he wanted these scenes “to further define and provoke Michael’s relationship to the Don,” adding, “We can see that although they are strained together, the Don is immensely interested in Michael.” The main source of tension between them was Michael’s decision to join the Marines after the United States entered World War II several years earlier. The novel reveals the extraordinary lengths Vito went to in an attempt to keep his youngest son out of the war. “Don Corleone had no desire, no intention, of letting his youngest son be killed in the service of a power foreign to himself. Doctors had been bribed, secret arrangements had been made. A great deal of money had been spent to take the proper precautions.” But against Vito’s wishes, Michael enlisted and went on to become a captain and decorated war hero. His photograph was even published in Life magazine, prompting Vito to remark disdainfully, “He performs those miracles for strangers”—a line Coppola later reworked into the second deleted scene. After being wounded, Michael briefly returned home before leaving again to attend Dartmouth College, choosing to pursue his own education and future without consulting his father. By the time he returns for Connie's wedding, he has spent years deliberately distancing himself from both Vito and the Corleone family. Coppola reinforces that separation visually during the wedding scene. Michael is presented in his Marine uniform while the rest of the family are dressed in black. Rather than standing with Vito and his brothers, he sits in a secluded corner of the garden with Kay Adams. As Puzo writes, Michael sits there “to proclaim his chosen alienation from father and family.” Kay further emphasizes that divide. She is the outsider, the “American girl” whom the Corleones immediately judge and reject: “Beside him sat the American girl everyone had heard about but whom no one had seen until this day. He had, of course, shown the proper respect and introduced her to everyone at the wedding, including his family. They were not impressed with her. She was too thin, she was too fair, her face was too sharply intelligent for a woman, her manner too free for a maiden.” The phrase “the American girl” is significant because it is exactly how Vito derisively refers to Kay in the first deleted scene. It was probably wise for Coppola to leave these scenes out, since the film was already very long. But they're interesting to look at as they reveal an early tension between Michael and Vito that the finished version never gets the chance to explore.

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Many remember Vito Corleone's final conversation with Michael as the moment a father passes his empire to his son. But if that had truly been Francis Ford Coppola's central point, the scene would never have taken place in a garden. He would have set it in the office. That is where power is built. It is also where power is transferred. Instead, Coppola does the opposite. He removes Vito from every symbol that has defined him throughout the film. The dark office is gone. The desk where life-and-death decisions were made is gone. The men waiting for his orders are gone. Even Don Corleone's black suit is gone. What remains is an elderly man in a simple cardigan, sitting among trees, speaking with his son in the soft light of late afternoon. At first glance, it seems like nothing more than a change of location. In cinematic terms, however, it is the most important choice in the entire sequence. For nearly three hours, Coppola carefully builds Vito through the language of power. In this scene, he deliberately strips those layers away. Not to make the character appear weaker. But to stop us from seeing Don Corleone—and allow us to see Vito. Just as importantly, Michael is never framed as a subordinate receiving instructions. The two men sit at eye level. The camera refuses to establish dominance. There is no composition of command and obedience. Because this is not staged as a transfer of authority. It is staged as a meeting. One man has almost reached the end of his journey. The other is about to begin its most difficult chapter. What Vito offers is not a collection of strategies for victory. Strategy belongs to its own time and circumstance. What he passes on is something deeper—a sense of direction that can endure even when circumstances inevitably change. That is why the rhythm of the scene becomes remarkably quiet. There is no conflict. No dramatic climax. No speech designed to astonish the audience. Coppola lets everything settle. Because some truths can only be heard after the noise has faded. That is also why he chooses the garden. Throughout The Godfather, it is the place closest to nature. A garden is where human beings care for life, but never create it. A gardener cannot force a seed to grow. He can only cultivate the conditions in which the life already within the seed may flourish. In a deeper sense, Vito is doing the same. He cannot live Michael's life for him. He cannot make the choices Michael will one day face. The only thing he can do is preserve what time has already proven to be enduring, and entrust it to the next generation. This is no longer instruction. It is continuity. Perhaps that is why Coppola refuses to place the conversation inside a room. He places it among trees. Because nature has always followed a simple law. A tree does not keep its fruit for itself. The fruit bears seeds. The seeds become new trees. Life does not continue through possession. Life continues through what is given away. And it is here that Coppola completes Vito Corleone's journey. For most of the film, Vito is a Don. He commands. He judges. He protects his family. He carries an entire order upon his shoulders. But in the garden, every one of those roles quietly falls away. What remains is not a crime boss. It is a man. A man no longer concerned with how much power he can hold. Only with what is worthy of living on after he is gone. Perhaps that is why this sequence leaves such a lasting impression. It does not ask us to admire Vito Corleone. It invites us to examine ourselves. One day our work will end. Our status will end. Our reputation will end. Even the roles life has entrusted to us will come to an end. When that day arrives, what will remain? Francis Ford Coppola never answers that question with dialogue. He answers it with images. He quietly removes a man from every symbol of power, returns him to the natural world, and lets life speak for itself. Perhaps that is why, more than half a century later, the garden scene still leaves audiences in silence. Not because it is about a Mafia family. But because it reminds us of something every human heart instinctively recognizes. A life is not ultimately measured by what we keep for ourselves, but by what is most true within us that continues to live on in the lives of others. Name movie: The Godfather (1972)

Many remember Vito Corleone's final conversation with Michael as the moment a father passes his empire to his son. But if that had truly been Francis Ford Coppola's central point, the scene would never have taken place in a garden. He would have set it in the office. That is where power is built. It is also where power is transferred. Instead, Coppola does the opposite. He removes Vito from every symbol that has defined him throughout the film. The dark office is gone. The desk where life-and-death decisions were made is gone. The men waiting for his orders are gone. Even Don Corleone's black suit is gone. What remains is an elderly man in a simple cardigan, sitting among trees, speaking with his son in the soft light of late afternoon. At first glance, it seems like nothing more than a change of location. In cinematic terms, however, it is the most important choice in the entire sequence. For nearly three hours, Coppola carefully builds Vito through the language of power. In this scene, he deliberately strips those layers away. Not to make the character appear weaker. But to stop us from seeing Don Corleone—and allow us to see Vito. Just as importantly, Michael is never framed as a subordinate receiving instructions. The two men sit at eye level. The camera refuses to establish dominance. There is no composition of command and obedience. Because this is not staged as a transfer of authority. It is staged as a meeting. One man has almost reached the end of his journey. The other is about to begin its most difficult chapter. What Vito offers is not a collection of strategies for victory. Strategy belongs to its own time and circumstance. What he passes on is something deeper—a sense of direction that can endure even when circumstances inevitably change. That is why the rhythm of the scene becomes remarkably quiet. There is no conflict. No dramatic climax. No speech designed to astonish the audience. Coppola lets everything settle. Because some truths can only be heard after the noise has faded. That is also why he chooses the garden. Throughout The Godfather, it is the place closest to nature. A garden is where human beings care for life, but never create it. A gardener cannot force a seed to grow. He can only cultivate the conditions in which the life already within the seed may flourish. In a deeper sense, Vito is doing the same. He cannot live Michael's life for him. He cannot make the choices Michael will one day face. The only thing he can do is preserve what time has already proven to be enduring, and entrust it to the next generation. This is no longer instruction. It is continuity. Perhaps that is why Coppola refuses to place the conversation inside a room. He places it among trees. Because nature has always followed a simple law. A tree does not keep its fruit for itself. The fruit bears seeds. The seeds become new trees. Life does not continue through possession. Life continues through what is given away. And it is here that Coppola completes Vito Corleone's journey. For most of the film, Vito is a Don. He commands. He judges. He protects his family. He carries an entire order upon his shoulders. But in the garden, every one of those roles quietly falls away. What remains is not a crime boss. It is a man. A man no longer concerned with how much power he can hold. Only with what is worthy of living on after he is gone. Perhaps that is why this sequence leaves such a lasting impression. It does not ask us to admire Vito Corleone. It invites us to examine ourselves. One day our work will end. Our status will end. Our reputation will end. Even the roles life has entrusted to us will come to an end. When that day arrives, what will remain? Francis Ford Coppola never answers that question with dialogue. He answers it with images. He quietly removes a man from every symbol of power, returns him to the natural world, and lets life speak for itself. Perhaps that is why, more than half a century later, the garden scene still leaves audiences in silence. Not because it is about a Mafia family. But because it reminds us of something every human heart instinctively recognizes. A life is not ultimately measured by what we keep for ourselves, but by what is most true within us that continues to live on in the lives of others. Name movie: The Godfather (1972)

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