This week, Marc, Darren and Paul crack open The Godfather — the legendary crime drama built around family, loyalty, power and succession.

Not seen it?

We’ll help you decide if this character-driven classic is your kind of movie — completely spoiler free.

Seen it?

We reveal things you may have missed, the details you didn't notice and explore the moments, themes and filmmaking choices that continue to influence cinema decades later.

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🎬 The Godfather (1972)

PART 1 – The Nutshell – If you haven’t seen it

A spoiler-free breakdown designed to help you decide if this iconic crime drama is your kind of film and worth your time.

We explore a powerful family business built on loyalty, reputation and control — where personal relationships and professional decisions constantly collide.

We’ll help you quickly understand the tone, style and experience of the film, from its slow-building tension and layered characters to the quiet conversations where everything changes.

By the end of Part 1, you will have made a decision!

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PART 2 – The Unboxing – If you’ve seen it

What Did You Miss?

Reveal things you may have missed, hidden layers, the sublime and the ridiculous.

The lads uncover visual storytelling details, subtle character moments and filmmaking techniques woven throughout the movie that are easy to overlook on first viewing.

There’s discussion around loyalty, masculinity, family expectations, power and the tension between personal identity and responsibility.

Plus, a look at the film’s wider legacy, the influence it had on generations of storytelling and why it remains one of the most discussed films ever made.

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Paul’s Facts of the Day

Behind-the-scenes insights including:

Famous casting stories and alternate possibilities

Improvised moments that made it into the final film

Hidden production details and filmmaking techniques

The influence the movie had on Hollywood and popular culture

Fascinating “what if?” moments that could have changed the film forever

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Hate It or Rate It?

Marc, Darren & Paul submit their scores and The Godfather takes its place in the Legend League.

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PART 3 – Listener Lounge – All about you!

The Lobby

Your emails, questions, comments and stories.

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Question of the Week

This week’s question comes from one of you — our listeners.

Got a great movie question? Send it in and you might hear it featured on the show!

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Next week’s movie

The big reveal of next week’s movie!

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Listen Now

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Show Notes:

Eric Miller

https://www.ericmillerwrites.com/

Million Podcasts

https://www.millionpodcasts.com/movies-podcasts-uk/

League Tables

The Legend League

Every movie we’ve featured and rated on the podcast

https://linkly.link/2Bfcv

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The Listener League

See how we rated the movies chosen by our listeners.

https://linkly.link/2Bi9I

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Join the conversation

Voice message:

https://linkly.link/2FuSQ

Email: hello@moviesinanutshell.com

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Socials

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Your Hosts

Marc Farquhar

Instagram:

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Facebook:

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Darren Horne

LinkedIn:

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Paul Day

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---

Music

Main Theme

BreakzStudios

https://incompetech.com/music/royalty-free/?keywords=breakzstudios

Music Bed

Protofunk – Kevin MacLeod

https://incompetech.com/music/royalty-free/?keywords=protofunk

All music licensed under Creative Commons.

I speak English.

Monday, Wednesday, Thursday.

It's that whole meme online, isn't it?

It's like, yeah, I won't watch a three hour film, but I'll binge watch a six hour TV series.

Right.

It's too long.

I'm just gonna watch Yellowstone for five.

Hours of the week.

Yeah.

Ex.

Hello and welcome to Movies in a Nutshell with me, Marc Farquhar, myself, Darren.

Horn, and I, Paul Day.

Here's why you should tune in every week.

We help you make better movie choices on films you haven't seen with quick spoiler free breakdowns to help you decide if they're your kind of movie.

And we help you get more from the movies you have seen with things you missed and details you probably didn't know us.

Plus, there's movie facts, trivia and behind the scenes stories.

There's also your chance to choose the movie.

So grab some popcorn and let's crack open this week's movie.

What year were you born, Darren?

1977.

Pre Darren Horn.

This is a bona fide classic.

It's up in all the top lists of any movie category you can think of.

It's one of those ones that I've been wanting to watch for a while.

So let's get on with it.

This is the nutshell.

This is part one, where we break the movie down.

Spoiler free.

To help you decide if the Godfather is your kind of movie and if it's worth your time.

It's some quiet movie to succinctly break down into a nutshell.

How would you describe it?

How do you break it down?

Is it a gangster Game of Thrones?

I wouldn't even say it was gangster.

I would say it's a mafia Game of Thrones.

It's a family movie about a family business and the family trying to keep their business running through difficult times.

And it's the story of succession within that family.

Yeah.

And the characters related to it.

I mean, we're going to be spoiler free here, but the Godfather feels like one of them cultural films like we've discussed on previous ones.

Yeah.

Where most people will still be aware.

What maybe roughly.

It's about just.

Yeah, I did.

I did even.

I've never seen a minute of it.

Exactly.

Well, I've seen old scene, you know, so it's that famous.

I've seen scenes, but I didn't really know anything about the actual story.

It's basically the Sopranos in movie form.

Yeah.

Yeah.

This is the Sopranos original.

The Sopranos would Not exist unless this had come about first.

And when I was trying to think of what does this compare to?

The thing that just kept coming into my head was the Sopranos.

Yeah, maybe Goodfellas.

But Goodfellas, I would argue, is more of a gangster movie that feels more like it's in love with the idea of being a gangster.

What?

Gangster didn't really occur to me watching.

I think I probably should have said more Mafia.

That's more Apple.

They never say the word Mafia.

No, no.

It's just the family.

And unlike the Fast and Furious, this is legitimately about family.

This is the original film about family.

I also put down it's about respect,.

Honor, loyalty, what it means to be a man.

Certainly it's a very masculine film.

Yeah.

Legacy, maybe.

I think going like one of the main characters.

It's about how loyalty can shape you as a person.

The thing that you.

Things that you have to go through to remain loyal can really affect you.

That's a crux of this movie.

Especially loyal to families.

It's a.

That's less loyalty to people in general, but loyalty and family is a whole other level.

Especially back in this setting.

The logo of the Godfather itself, it's like a puppet string marinette.

Puppet.

Puppet string on the thing.

So it's very much who's pulling the strings.

And as you've probably seen from the very famous picture of Marlon Brando as the Godfather, because that is the poster, isn't it?

That's your Godfather of.

Of the piece who's pulling said strings.

I always remember back in the day, we used to read up the synopsis of all the movies, didn't we?

And then we stopped because they were shit.

Yeah, we could do better ourselves.

But I've boiled this down to the basic plot is a powerful crime family and son who never wanted the.

That life being pulled deeper into it, where loyalty, honor and reputation come at a cost.

I think there's also parallels with Peaky Blinders as well as in that.

Well, Peaky Blinders is a guy who comes back from the war and is kind of changed.

Everything's changed.

Yeah.

Like the character you've just said in that synopsis, one of the members of the family who sort of pulled into.

This did remind me of sort of Mafia gangster kind of things where, like, integrity and reputation matter the most more than anything else.

Apart from, obviously apart from family, but, like the different kinds of family.

And when all the family heads meet and stuff, it's all about mind games and who's going to be on Top.

And people's territories and stuff like that.

The power and the influence of it.

Yeah, yeah.

And also there is a fair bit of domestic stuff in the mix as well.

Wives and kids and marriages, baptisms, all that kind of.

That's why it's so long.

That's why it's so long.

It's a very character driven piece.

It is.

It's not an action film.

So this is maybe one perception we can in the nutshell, kind of dispel.

It's not really an action film.

It's more of a drama character piece.

But there are action moments.

It's like a thriller.

Legitimate cinephiles, I think we can say that a lot because that's one of my bugbears about an awful lot of movies.

And it's probably in this must come up on other episodes as well, that people will not watch Rambo because they think it's going to be like a pro American cartoon, basically.

But the first one is a really powerful movie about what it meant to.

Come back just because it does Rambo 3.

Yeah, totally.

Like it's an arcade machine, basically.

It's just a game.

But the first one is deeply, deeply powerful.

Likewise with Rocky, you're staying with Sylvester Sloan.

People think it's just going to be like a fight movie.

And it's not.

It's because they've seen like the climax or a certain scene.

They just.

It's black people who just read headlines and don't read the article.

They just judge it straight away.

And I think the Godfather is the same.

Like you might think it's going to be like, I like.

I really like Opportunity of Scarface, but that's a nasty film.

Not.

Not necessarily a spoiler, but there is some guns, there's a explosionist.

But that's really not what this movie is about at all.

No, that's just consequential stuff that happens throughout the story.

If.

If you go in there expecting, shoot them up, like, oh, we've got to watch the Godfather because it's going to be shoot them up.

It's not that it's a.

In fact, you said it is.

It is character driven.

There's a lot of narrative in this and a lot of the scenes are very heavy.

Everything happens in conversation.

Like the heavy things happen in conversation.

The shifts, the commit.

The.

The film critic Roger Eber said this, but it's.

It's not.

God.

We used to call all the critics as well, didn't we?

We did.

Our friend Roger Ebert, Peter Travers.

And it's not original to say it, but movies and stories are empathy machines.

And what struck me about this is how immersed you get within this family.

I start to understand more about cultural dynamics, about Sicilian cultural dynamics and wedding culture and all that kind of stuff.

And because it does take its time, because it's three hours, but you really do learn about the family.

The whole thing is fully fleshed out.

It's good.

And considering.

I mean, there's a lot of characters and some of are barely on screen, like from my memory, like Dan Keaton being one.

Like, I thought that she was a pretty consistent character through the whole movie.

She's really not seen it like three times.

Well, I think even Marlon Brando's is.

Screen time is limited.

Yeah, be like Darth Vader.

We said in Star wars, didn't we?

His screen time.

Even though Darth Vader became this absolute icon, even these combined, but his screen time is powerful.

Yeah, exactly.

What kind of watch is this, Darren?

Actually a tough one because anything I think that I want to reference isn't quite got the same family vibe.

Vibe.

You've kind of got a solo movie.

I think you've kind of got to set aside some time to sit and watch this.

It's one of those things.

You should watch it.

I'd be really curious as to what a.

Our kind of female listeners make of it, particularly if they've watched it.

Like, whenever I get students come through who have seen it, particularly if it's the girls, it's usually they've had a dad who's like, oh, yeah, my dad made me watch it and a ton of John Wayne movies and all this.

And I think that.

So I'm curious.

They enjoy it.

Well, they ended up on a film course, so.

Oh, okay.

So it's true.

That is a good point.

I hope so.

But I think for men, it's like train dreams.

It's like almost like a meditation.

What does it mean to be a man?

And you could almost do it like a personality test as to which, like, brother, which member of the family you would be.

He's already thinking of the examples in his head.

Exactly.

And then it's also about the sins of the father.

Are we going to become our fathers no matter what?

And how do we feel about that?

And it's a bit like the farming industry when, like, the sons are just expected to take over.

But occasionally like something.

I don't want to do that.

Yeah.

I want to do something else completely different.

I want to go make movies.

And then the father, like.

Well, I'M going to close up.

This farm's over.

If you don't like almost like emotional blackmail.

And they either go into it ructantly and regret it for the rest of life or they go and do something else and be happy.

So this is how highly you rate family loyalty.

Anything else?

It's a good movie to watch.

I don't know why I feel like I've said this with trains Dreams as well.

But like if your relationship is falling apart or you're going through a breakup or you're between jobs and you just want to feel strong and masculine again.

And it's a heavy watch.

It's like you need to set some time to watch this and absorb it.

It's not just a background movie.

Yeah.

It's definitely not a light hearted no Friday flick with the beer and the boys as you go and the pizza.

Impactful.

Yeah.

You can start wearing braces and pretend you've got a gun holster and get a fedora hat.

Could you.

Could you see my gun holster that.

I was wearing today?

No.

It's true.

It's one of them very much like train dreams.

So that's probably a good podcast of ours to listen to as a follow up.

As a follow up.

Because we talked about that need for peace to watch it, to get immersed in.

In the world.

Whereas if someone was saying what movies.

Could this be compared to?

Or what could.

What could this be compared to?

Kind of maybe Carlito's a Pacino movie, but it's a bit calmer.

Heat.

Oh, Heat's good call.

Yeah.

Goodfellas is also mentioned in a reference as this.

Yeah, but good f. This is so much more kind of violent.

I know, but people always do like, they always put them in the same.

Yeah, I haven't seen Good Fellow, so my meats was Succession meets Goodfellas.

Okay.

Heat's probably a good modern take on it.

Yeah.

They don't mention family, but it's.

Yeah, it's implied.

Notice how I didn't say Fast and Furious?

No.

I know someone who's going to be disappointed.

You did?

Yeah.

What's going to save us here?

This is about family.

Family as they launch the car into space.

I still enjoy them.

Films.

Hey ho.

I still enjoy them.

Okay, that takes us nicely into part two, the unboxing.

In the unboxing spoiler territory ahead.

If you haven't seen the Godfather and we've helped you decide that you do want to watch it, we recommend you go and do so now and then come back because from this point forward There will be spoilers in the unboxing.

We have what did you miss?

Where we will reveal things you may have missed.

Even if you've seen the movie, Paul has his formidable facts of the day.

And then we round off with Hate it or Rate it where we give our opinion and a brief SC and we see where it lands on the Legend League.

So what did you miss?

I'm gonna go to Mr. Horn on this one first.

I don't know if people would have missed stuff like this, but I think if you're going to break down this movie, you can do it on a scene by scene basis because it's.

I'm always curious if other people notice this kind of stuff.

But it's phenomenally well shot.

And it's phenomenally well shot in a really restrained way in that it will not use the camera as much and it stays on one character.

Like if we are talking now, if you're going to film this, you do like a three shot over here.

Then you break into some singles and two shots and stuff.

The way they do it is we might be talking, like Mark and I may be talking, but the camera will just be on Paul.

And I'm just taking it in more like for other people's reaction to what's going on as well.

Yeah.

And he does it for a long time.

And it's a slow movie in that.

There's a bit where they're waiting for a phone call and they all sat around the dinner.

It's amazing how much food is eaten.

And that's the culture of it.

So leave the gun, grab the cologne.

Yeah.

And then James can get.

Gets up, walks down the corridor away from the camera, picks up the phone, takes the phone call and then walks back in real time.

Yeah.

I mean, obviously people saw that, but I want to bring attention to it because rare.

It would just cut him at the phone.

Yeah.

It would tell you what it would.

You'd be in on the conversation, go back to the table.

But this time you're like, you have to sort of wait for him to tell.

Tell you.

And is it these camera tricks that's what's dragging us into the world?

Yeah.

Better?

Sure.

Because we all come away going like, oh, yeah.

I really felt part of the world and immersed in it.

There's two elements of that.

One is I really believe these guys are brothers and that's because they are not scared of each other.

So even early on, Fredo Frieda comes over hammered to Dan Keaton and gets into a personal space and Michael is just saying, hey, Fred, are you okay?

And he knows there's nothing to worry about.

He's like, his brother is fine.

And whenever Sonny is being angry, particularly towards Tom, Tom doesn't care.

He's.

Our son is yelling at me again.

You know, he's like.

But there's a scene, Max telling me and Darren off again.

It's fin.

There's a scene where they're arguing again about what they should do.

And it's like, it's business.

It's not personal.

They hit my father.

We're going to go bada bing, bada boom.

And you know what?

I. Yeah.

At one point, Tom and James Caan separate, and James Caan's now off screen, but Michael was sat in between them, and he sat there the whole time.

And then gradually, he starts talking, and the camera just moves in slowly.

I remember that.

It's almost like he's becoming the godfather in that shot.

Yeah.

But then Tom challenges him, and the camera moves to a different area, and he looks like a young boy again.

He's like, no, no.

Like, think this is a good plan.

Like the news.

We've got newspaper men, don't we?

But you get a glimpse of who he's going to become, like, foreshadowing, almost shadowing.

And it's all these little things as well.

Like, early on, one of the things that I didn't.

I don't think I've ever caught before or picked up enough is that Michael learns his dad's been shot from reading it in the newspaper.

Yeah.

Because they didn't have mobiles.

There's no way that information could have traveled.

But they did have phones, though.

Yeah, but he was in the theater, whatever, wasn't he?

No one knew where he was, so they must have been ringing and nothing happened.

Yeah.

And then he gets into a phone booth, but it's got like.

Like almost chicken wire mesh.

And he leaves Dan Keaton outside, and she's looking through the fence in again.

And it's like, you're never the inner circle.

You're never going to be the inner circle.

I just thought that was interesting.

I did miss that.

That's good.

I like that.

But.

But there's loads of things like that where I'm like, where did you learn to break the rules to that level and still add to the filmmaking, add to the story?

And every single image, to me, seems like a painting.

Yeah.

And lots of.

Like, every scene carries weight, every conversation.

Has deep meaning and lots of layers of depth of field.

Like, if you ever want to study this, just search Godfather Blocking analysis.

And blocking is just the movement of the actors in comparison to where the camera is.

And they've got.

It's like a play.

There's layers.

Choreographed.

Exactly.

And.

But also very choreographed.

If you had said they just walked up at a Sicilian wedding and filmed it, I would.

I would believe you.

Like, it was so authentic.

So authentic.

And we're there for, like, 20 minutes.

I know.

And nothing happens.

No, but we.

Nothing happens.

But we learn a lot.

We learn who all the people are.

And then by the end of the wedding, it's like, we know the family.

We're part of the family.

Well, the son comes in and his new wife, who we don't know, is like, so what's.

What.

Why did he do that?

And he's like, it's just my father.

And, like, there's deep meaning to what he's saying.

But he's not giving much away to his new wife.

But she'll find out what this family's all about.

Yeah.

And you're setting up the character who's going to go in and see him.

And he's practicing, isn't he?

Yeah, that's such.

And such.

He's a scary guy.

His name's just popped up.

That's, like, almost used as a tool where she's asking questions and his answers are sort of filling in some of the blanks for us.

Yeah.

She's almost the audience.

Yeah.

A vehicle for.

Yeah.

Filling in some blanks.

But she'll always be the outsider.

And that's kind of right until the end of the closing credits, isn't it?

Where the door shuts.

That's what you're saying about the phone booth as well.

Yeah.

Diane Keaton's always on the outside of the.

I mean, family.

It's about.

Even the intro is quite powerful.

It sets the tone, personally.

That's interesting because the intro is just a guy talking.

Yeah.

And all about.

But it's more about the power.

Yeah.

Well, it was the same thing.

It was just the guy talking, but with this, the pan.

It's on.

It's on the character, and it's dark.

And he's just telling the story.

And I was watching it, being like, why am I being, like, pulled in?

And part of it is he's telling the story that I see on social media every day basis.

And it's like, someone has committed a crime.

They went to the police.

The police did not do enough.

Who can I turn to?

And I'm like, if we knew where, like, the Godfather lived.

I think there would be a lot of people going to them and just being like, hey, this happened to my daughter.

This happened to my son, or this happened to my grandmother.

This is an injustice.

The police didn't do anything.

Can you help?

I. I don't think there's any point in this where any of these guys come across as bad people.

Well, maybe it's the killing each other.

And they're only Canadian.

I'd have.

So I'm having it.

I'm having a vision with what you just said about Facebook and everything.

Yeah.

The modern version of the Godfather.

Isn't that where they're like, oh, my God, you won't believe what happened.

And then everyone's like, oh, my God, babe.

What?

It's like, I'll DM you.

Yeah.

Is that where we're going with the.

You might not agree with me, but part of this reminded me of Snatch, and it's the part where the.

In the intro where he's setting up.

Like, if he does this for him, he's in his pocket.

Yeah.

And there's a bit.

He was in one.

There's a bit where Turkish is voice over in the fact that we.

Because of.

Now we are in one, which means we're in his pocket.

When you go in there, you ain't ever coming out.

That's just what it reminded me of.

And I wonder if they got that from this.

Yeah, probably.

Influence of it.

Yeah.

It's also.

I think I must have picked it up the first time I watched it, but the whole movie comes down to the fact that the Godfather does not want to deal in drugs.

That's it.

That's.

And that happens.

Which isn't clear, but at some point, it makes it clear that.

No.

Yeah.

Because he's out of the picture for a while.

So you don't know.

And other guys are guessing and trying to set stuff up.

And he comes back, goes, no.

Also until 43 minutes.

In this movie, it's fairly straightforward.

Yeah.

There's a lot of anecdotal stuff about the power between the two families.

And you get a lot of background,.

And it's like the side missions, isn't it?

But it's 43 minutes.

Whereas the first act of Power, where he goes into that bar and he puts that knife for that guy's hand on the bar.

It suddenly takes a dark turn there, like, oh.

And.

And then he's shot at 45 minutes.

I mean, he already had the movie.

It already had me after that.

I was like, whoa, where's this gonna go okay?

That's the first family to make a move.

What's the, where's the retaliation here?

What's going to happen?

That was very well done.

And he build up the tension.

They get suits of brazzy, who we think is an important character.

And you're like, like you're, you're in danger.

You're in danger.

You're in danger, boy.

Get out of there.

And then it's like bad guys are looking at each other and you think, they're gonna freaking kill him, aren't they?

Then they do.

It's.

I, I will say that scene where he said to kill that guy in the restaurant and he puts.

Someone's put the gun behind the toilet and you initially go and you can't find it.

He's like, what if he can't do it?

He just find it.

And then when he's walking back to the table, he's like, has he got the balls to actually do this?

I've died.

I can't remember a time when I felt so tense watching a movie.

He sits down.

It's like a masterpiece.

Intention, that whole scene.

The other thing that's clever about it is a train comes in the back background.

It's like you get louder and louder and louder and you think is the crescendo building up to a point?

You think just dips a bit where you think, he's not going to do it, he's not going to.

He just suddenly does it.

You're like, oh, I forgot about the train until you mentioned it in a previous episode.

We did.

It's one of the things that we end up teaching a lot with.

I think anyone who studies film does just a recap on terminology.

The diegesis is the universe that the film takes place in.

So you then have diegetic music and non diegetic music and diegetic music and.

Sound like specific to the sea.

Yes, exactly.

So anyone in the scene can hear it.

So it's like music that would.

So if you're in a nightclub, it's the music in the nightclub for this,.

It was just a train in a city train just going past.

Yeah.

So then the argument timing of it.

Yeah, absolutely.

But then it's like, well, you don't see a train.

So the sound guy never would have thought, oh, let's add a train.

I don't know if it would be in the script.

But then James Cameron says this great thing that a lot of the time the movie you're watching isn't the movie is the character's memory of that moment in the movie.

Movie.

So when Al Pacino's characters.

Michael thinks back to that moment, does he feel the anxiety?

One of the things I remember is that train going past.

Yeah.

Well, no, but it's.

It's like, no, but it could be like, you think.

You're thinking, this transmit past.

I'm going to do this before this train's, like, gone.

So either train is in the universe and he does hear it.

But it could also be that his hearings become more cute because he's going into fight or flight potentially.

Or there is no train and they just added it later, added it for his tension.

But, yeah, you're right.

It's one of those moments where I was eating something and I stopped.

You know the popcorn moments where it's.

Also a nice breath.

Like, I don't think I've caught before that that cop is the guy who punches Michael as well.

It was like the bully gets kind of caught, which I like.

Yeah.

I also think it's a great scene where they had more sympathy for him this time.

But the.

I think it's the baker is coming to give the Godfather flowers.

Oh, that's right.

And then he's like, no, I'll help.

Like, what can I do?

And it's, oh, you're so out of your depth.

And so.

So what's interesting with that is I think it must have happened before then, probably is when the other scene I was describing, Sonny's like, oh, what are you going to do?

You're going to come along.

You come back from the war, you think you can kill this guy?

What, you got to do it up close.

But also, he was in the Pacific, wasn't he?

I think from what I know about the brothers, the Pacific, that was nasty.

He's had some experience.

He's basically got ptsd.

So he comes back to his family, which he wants to be safe, and he doesn't want to be this warrior.

And then an attack is made on his family, and he's, I've got to stop this.

He goes straight back into war mode.

Yeah.

Basically, he has the bake, is now the guy who's not capable.

He's like, oh, you know, throw the flowers away, put up your collar, pretend you got a gun.

And his hand is shaking so bad as he lights a cigarette.

But Michael is stone cold nothing.

Just like.

And it's another sign, like, the precursor.

Of, he can do this.

Yeah, yeah.

It's just lush.

He might not want to do it, but he's gonna be able to do it.

Do you guys pick up on the fact that it was quite.

I don't know, at the time, being able to.

Because he.

When he.

When it's Al Pacino's character, move country after he kill that guy, just get away from things.

And they would start.

You get murmurings like, you're gonna have to move soon.

You're not safe.

You're not even safe here.

And then when the car blows up with his new wife in it, you think, jesus Christ, that's a move.

There's this interesting thing around story and plot and, you know, different theorists will argue as to what they are.

I like the idea that the story is everything that happens, and the plot is the elements, like the story within the story.

It's not even so much that, like, it's who the camera decides to follow.

And when, you know, when they do the movie of how this podcast became a success, the story of it is, you know, it's like David Copperfield, isn't it?

It's like I was born, but no one wants to start my story then, like, it'll probably come in from me going to film school or something and whatever.

So it will choose.

But we follow him to where.

Sicily.

Is that where they go and we see him fall in love kind of with the.

Almost instantly.

Yeah.

And we spend ages out in Sicily.

His wife then gets killed.

We see none of the aftermath of that.

And then it's one year later.

He's like, okay, I've been being back for a year.

It's like, why would you choose to show us that and not that?

And I don't mind.

I'm just really curious.

That reminds me of Castaway.

When he gets back and they skip the first four weeks.

Yeah.

That's the most important time.

Could you cut the whole, like, Sicily section?

But is that actually there to drive the narrative as to why he comes back so driven?

Because it's like the revenge.

Because I think he was really happy with the one in Sicily.

That's pulling him back in.

Yeah.

That's when he thought he was pull me back in.

He has to act.

Yeah.

He can't ignore that.

No.

And I think the whole reason.

That's all so romantic and it's.

It's a precursor to build up.

Yeah.

He's kind of in this setting.

And then she's like, I want to drive and all that.

And it's all quite sweet.

It's all about your past catching up with you.

I speak English Monday, Wednesday, Thursday.

But that is all about your past catching up with you.

You never.

You never get away with it.

I don't know if you agree with this or not.

At one point, it was like, Michael's in a different film to start with than the other guys.

And it's like he's almost in the rom com.

Not rom com, but, you know, she's.

He's in the romantic movie with Diane Keaton over there.

He's at the wedding with Diane Keaton.

He's at the movie, and then he's on the Italy thing.

So he's kind of in a different movie again.

But then he keeps getting pulled back in, like you say.

And that's also why he wants to go legitimate, doesn't he?

But I wonder if he was willing to kill the cop, because it's like a betrayal to a man in uniform.

He's like, no, I was in the military.

I was.

I was good.

You make an oath, you go, I went to hell.

As my role is in the military and you're here taking bribes.

Like, I think there was probably a slight against his code.

And he was like, no, I'll kill this cop.

Like, he isn't a cop in my eyes.

Yeah.

He's like, my life was at risk while I was away at war.

You should have been here protecting my family as a cop.

And you won.

Did anyone else think it was slightly maybe unrealistic that the.

The Godfather got shot that shot that many times in the back and survived?

I don't know.

50 Cent is still going in it.

It's just.

I expected him to die.

Like, I've not seen it before.

I was like, that's a lot of time.

Shot in the back.

The Godfather's gone.

Yeah.

But I think the buddies also expected him to die, so they were also shocked.

Yeah.

Just surprised me.

He's invincible.

Maybe he was the first superhero.

Another thing I sometimes miss as well is that Tom, as a brother, was adopted.

And there's just.

It's kind of a thorough line.

It's like, oh, you know, one day Sonny found Tom on the street, and he didn't seem to have anyone, so my dad just adopted him.

Yeah.

Why does he have a different surname?

It's Stanky.

And just drop that in there quietly.

Just.

Yeah.

And because you just keep thinking.

And obviously, you know, Brando starts with the cat.

You're like, who doesn't like this guy?

You know, he's really sweet.

There's also a thing that they'll talk about online a lot, and I didn't check how True.

This was.

But oranges are a signifier of death.

So I think he's buying oranges when he gets hit.

Like a crow signifying death.

Yeah, yeah, totally.

And then I think he's doing an impression with the.

If you see a crow with an orange, you're out.

He's kind of scaring a kid, isn't he?

With orange in his mouth.

And then he dies.

And I think it happens a few other things the times.

I'm never really sure filmmakers do this on purpose, but I would imagine that Francis Ford Coppola did do it on purpose.

The start of it, you had the contrast of the family and the business all within them.

So we're at the wedding for a long time.

Yeah, but you keep cutting back between the family, the wedding bit, and the business, him doing his.

I think those are things that are too equally important to them.

Yeah, but they're separate.

But they also overlap as well.

And that's throughout the film, isn't it?

It's the business versus the family.

And that's from the get go.

You go.

They intertwined.

Because when the other family is trying to get you, they go for your family.

Yeah.

So they kind of.

That which affects your business just to say.

I mean, the cast is crazy good.

Yeah.

Recognize James Kahn or Al Pacino?

He's so young.

I was like, looks a bit like Al Pacino.

And I looked, oh, it's Al Pacino.

He's so young.

I've obviously only seen him as an older actor.

Yeah, yeah.

Robert Duvall as well.

Natalia Shire from Rocky.

So I didn't realize this until I was doing Facts.

Talia Shire is the sister of Francis Ford Coppola.

Yeah, I didn't know that.

But Sophia Coppola's daughters, you know, grew up on film sets.

Yeah, she was.

She sat on the knee of Kiyosawa, who's like a Japanese director who got like the Godfather of cinema, basically.

She had a film school her entire childhood.

Big name Marlon Brando, James Carr.

I didn't recognize at the time.

The dad in Elf.

A lot of names.

I don't know of people, but you guys probably do.

They're like all those different representations of masculinity.

And I think there still is, like, if you ever get a YouTube kind of play channel where it's like brooding music for men who are silent or something like that.

Maybe that's just me.

I get that.

That.

But Al Pacino's character, Michael Karma, strategy, just business, bigger picture, thinking suddenly much more emotional.

It's almost like characters.

He's the hot head, isn't he?

Yeah.

And then you've got, apparently, Fredo.

I think you find it in the second movie.

He had a disease when he was younger, so he had mild brain damage or something like that.

Yeah.

So he's just not quite as there.

But even like Mike, I think an hour in, maybe more, they're wondering what they can do.

And Sonny says, hey, Mikey, stay around the house and man the phones.

Well, the men go out and deal with it.

It's like you're underestimating him a lot.

Yeah, there was a lot of that.

He was a soldier, don't you know,.

Going back to the Talia shy thing, that bit where her husband's beating her is bad, but when she then runs into the bathroom and you don't see what's happening.

Horrendous.

Yeah.

And I know that Sonny's gonna go get him.

Yeah, he's gone.

He's.

That's.

But at the same time, I'm like, sonny, don't go get him.

It's a trap up.

But at the same time, I'm like, go get him, Sonny.

Yeah, yeah.

True.

When he's beating him with the bin after the first time he's beaten up, so satisfying.

Like.

Yeah, beat him again with the bin.

I think he deserves that.

Yeah, that also.

But that again, also feels like beating up a cousin or something, like.

Yeah, I mean, it's quite vicious, but it's also just when you grab whatever's close to you and beat up a brother or something, that's just me.

That might just be him.

I'm an only child.

I have no idea.

My brother's quite a lot older than me, so it was the other way around.

Yeah, just get me in a head, look for the hell of it, you know?

Thank you, gentlemen.

That takes us into Paul's fantastic facts of the day.

Facts of the day.

It's all about family.

The facts are all about family.

The cat held by Marlon Brando in the opening scene was a stray that Coppola found while on the lot of Paramount Pictures and was not originally called for in the script.

So content was the cat that its purring muffled some of Brando's dialogue.

And as a result, most of his lines had to be loops.

Oh, I wonder how Brando felt about.

Yeah, like overdubs.

So lupins, where they.

Yeah, they go in and they have to do the lines again.

Reminded me of.

What's the bad guy called?

An inspector gadget.

Oh, Claw.

Always holding a cat.

That's Him Gadget.

Oh, that's very good.

So Francis Ford Coppola held improv improvisational.

Oh, it's been a long day.

Improvisational rehearsal sessions that simply consisted of the main cast sitting down in character for a family meal.

That's good.

And actresses couldn't break character, which Coppola saw as a way for the caster organically established the family roles.

The family dynamic you see in the film.

That's good.

Scorsese's on that.

I think in Goodfellas, he gets his mom to come in and she's like, what am I gonna do?

He's like, I'll just come in and just feed the.

Feed the lads.

Because she knew most of the actors friends with Scorsese, so she would just come in and be like, and how you been doing today?

And do you want some more spaghetti?

Eat more.

The cinematographer, Gordon Willis, earned himself the nickname the Prince of Darkness, since his sets were so under lit.

Paramount Pictures executives initially thought that the footage was too dark until persuaded otherwise by Willis and Francis Ford Coppola that it was to emphasize the shadiness of the corridor.

And that was before Ozzy Osbourne took his crown to the path of darkness.

Exactly.

Officially, Lenny Montana.

Luca Brazzi was so nervous about working with Marlon Brando that in the first take of their scene together, where he goes in and he's like, thank you, Godfather, for invite me, he actually flubbed some lines, and Francis liked the genuine nervousness, and he used it in the final cut.

So some of that's him actually being nervous of working with Brando adds to.

The gravitas of the reality criticism of it.

And he said.

And it says here that the scenes of him practicing his speech were added in later as well.

The smack that Vito gives Johnny Fontaine was not in the script.

Marlon Brando improvised the scene and smacked.

Almatino's confused reaction was real.

According to James Kahn, Martino didn't know whether to laugh or cry.

It's Brando.

That's what he does.

Obviously, it's very iconic, his look in the film.

So Marlon Brando wanted him to look like a bulldog, so he stuffed his cheeks with cotton wool for the audition.

But for the actual filming, he wore a mouthpiece, which was made by a guy called Dick Smith.

And this appliance.

And this appliance is on display at the American Museum of the Academy Museum of Motion Pictures in Los Angeles in a special Godfather exhibit.

I don't know if I'd need to see that.

Particularly, I was thinking that, oh, here's the Mouthpiece.

Why?

Okay.

Richard S. Castanello ad libbed that line we said about leave the.

Leave the gun, take the cannoli.

So that was ad lib.

So that's quite cool.

Francis Vaud Coppola insisted the film being called Mario Puza's the Godfather, rather being just the Godfather because his original draft of the screenplay was so faithful to the novel that he thought he deserved the credit for it.

So that's why he comes up as Mario puzzles the Godfather.

According to Al Pacino, the tears in Marlon Brando's eyes were real in the hospital scene where Michael pledges himself to his father.

And I don't know if you know this about Marlon Brando.

He used to read a lot of his lines off boards to try and make it so it was more in the moment.

Was it that or was he just lazy?

Darren, what do we think?

I don't know.

I don't.

Because he did it with.

He did it with Superman as well.

So note the attention to detail.

Most the cars have wooden bumpers.

Bumpers were removed by car owners during World War II and replaced with wooden ones.

The chrome ones were turned in to help with the war effort.

And after the war it took several years for them to be replaced.

So that's the kind of detail they went into in the cars and the science and everything.

Couple more.

Because there are a shed load.

Yeah.

And there's also feature length documentaries and you can lose yourself in the behind the scenes of the world of the gunfire that I would have loved to.

Watch them just enough time.

Why is this the case with most of Francis Ford Coppola's films where like there's a massive documentary but all about the Apocalypse now as well.

And well, he.

Darkness, when he set up like Zoetrope, I think he kind of almost had an unofficial film school.

Like he was a big believer in educating the next generation.

I think so.

Awesome.

Wells lobbied to get the point of Vito Coral.

Vito Corleone.

Thank you.

Sounded better.

We are accent even offering to lose a good deal of weight in order to get the role.

But Francis, who's a Wells fan, he had to turn him down because he'd already met Brando and Adam in Ride for the role and he thought that Welsh wouldn't be right for it.

So George Lucas is a mate of Francis Ford Coppola.

So they worked together.

They were very much San Francisco independent filmmakers, if I remember rightly.

It's all part of the Comerica New wave.

So it's kind of when studios, you know, the Rise of TV had happened.

Studios were really worried about getting people into the cinema.

American New wave was influenced by French New Wave.

And it was Spielberg, Scorsese, De Palma, Francis for Coppola.

Like a whole bunch of filmmakers looked out for each other.

But it also meant that you got directors who were fucking in their early 20s, so making movies, that was a good thing.

And this is one of the reasons he finally agreed to direct the movie.

And Lucas was one of the ones who urged him to do the job so could get a payday because of his debt.

And also, George Lucas put together the mattress sequence.

So that's the montage of the crime scene photos.

Wow.

And headlines about the war between the five families.

And he has to be not credited.

So he used photos from real crime scenes.

And the corpse on the ground near a chain link fence.

I did think that was really cool.

That scene did stand out a bit because it was like, it was the first part where you weren't just following people.

It was like something else was being presented to you of the time and like a bit of fact filling kind of thing.

I was like, oh, that's quite cool.

That's quite different.

Well, he also helped him on a scene in the hospital, apparently where he didn't have enough footage of what he needed of people in the thing.

So George helped him do the edit to get it so that it looked like those people in the corridors and stuff.

So they're obviously all just helping each other and I might just heal.

Helped him on American Graffiti as well.

That's excellent.

I remember watching a documentary though, and it told me is all these new wave kind of directors sitting around and they were all talking about when George first showed them Star Wars.

And they were like, we didn't know what to make of it because all the special effects hadn't been put in and it was all just like World War II footage.

Okay, one more.

While filming the scene in which Kahlo beats her, Talia Shire lost a shoe.

And not wanting to have to restore the set and wait for the cameras to be set up for a second time, she simply continued to play through the scene, even at the risk of cutting her foot on all the ceramics and all the broken stuff that she was going through through.

She just powered on.

Nice because that scene is pretty.

Gonna be pretty hard to reset, I would imagine, after all the smashing.

Only one thing I read was a bit similar to Mark Hamill in Star Wars.

Nobody thought this was going to be a big hit.

Oh really?

Oh, that's interesting.

The General everyone thought was a decent movie and it's going to do well, but no one like nobody was going, this is going to win awards.

This is going to get all this.

No, there was nobody because I don't know if, I don't know when they started doing screen tests.

Do you know when they start doing that?

Oh, it'd be pretty early on.

Yeah, they'll have done some version of it in the studio system.

I saw a few bits and pieces about people talking who are in it or involved in it.

Just of kind going, yeah, we thought it was a good movie but nobody saw this coming.

Which I like.

I like.

Like you just, just get on with it and just be like, it's pure, basically.

They're not.

I also know, man.

So there's a book called Easy Rider, Raging Bulls and there's a documentary of it.

And it's basically the American New wave period from like, you know, Easy Rider through the Raging Ball and all that kind of stuff.

And I'm sure the director, the executive producer on this was Robert Evans, I think that's his name, and he was getting death threats from the Mafia.

You being like, don't make this movie, like, we don't want you to make this movie.

I never even thought of that side.

Of it because they thought they were going to come across as bad in it.

And Robert Evans is like an old school Hollywood producer guy and was just like you, that's what.

But then apparently the mafia people saw this and loved it and then started copying the dialogue.

Yeah, that's quite funny, isn't it?

And the last thing I'll say, which isn't a fact, fact, but it is a fact.

The 4K restoration of this on 4K Blu Ray, it's great.

Some of them I, I'm like, this one feels like it was filmed like not long ago.

It's got a bit of grain, but overall it's stunning.

So there you go.

That's not a fact so much.

It's just me flogging physical media as usual.

Thank you very much, Paul.

That takes us on to hate it or rate it.

And I'm going to stick with you, Mr. Day, because it was your choice.

I thought it was very poor middle.

It's kind of bored now.

Didn't see it till I was probably in my 30s and a bit like, you might as well watch the Godfather better watch.

I knew it was gonna be a heavy watch, even back then.

I've now seen it a few times since.

Like the whole trilogy.

Yeah, it's cinema, as you would say.

All the stuff you've just said, the way you get hooked into it.

And I don't think I was.

Even though I recommended this, I don't think the day I was watching it, I was in the mood to watch it.

I was like, oh, I need to watch this for the podcast, but I'm not in the right mood for it.

It.

But I tell you what, about 10, 15 minutes in, I was in.

I was in that world again and I was pulled in and I'm like, yeah, this is.

This is a great movie.

And then it builds and like I said at the start, it's almost like a few movies in one.

So much happens.

You get this whole lifespan of it all the direction, the acting.

I see why it.

People love it.

You've got to be in the right mood to watch it.

I think I'm going to give it though.

I was thinking hard about this.

I'm only going to give it 9.5 because the one thing this is missing for me that I would normally give a straight out 10 for is the nostalgia bit.

So I don't have a lot of nostalgia with it.

If you're into your Peaky Blinders and that kind of thing, maybe you'd enjoy watching this sort of original classic.

But I'll just take a bit off because it's not quite hitting me in the field of the nostalgia vibe that maybe a Back to the Future would different kind of film, obviously, but it just gives me that extra little bit of movie magic of what you've grown up watching.

And I didn't do that.

But, yeah, incredible movie, amazingly well made.

And I can see why people.

People love it.

Cool.

Over to you, Mr. Han.

Yeah, it.

It's, as you said, it's cinema.

It's phenomenal.

You could watch documentaries on this.

You could listen to every commentary and you'll be unpacking it forever and ever.

Like, there's like thoroughly lines that suggest that, you know, how does he know that Bazino is like the bad guy?

And it's all.

It's a really intricate web.

I think because it was based on a novel.

There's probably so much information and law, like layered within it.

So I'll be curious if anyone's read the book and how that Holds up.

The filmmaking is breathtaking.

And it's not just breathtaking in terms of well made.

It's well made and breaking so many rules.

Like the fact that that opening is like a nearly 3 1/2 minute just slow.

Track back.

And apparently that was a special camera that had only just come into being used or something to do that.

Track back.

Yeah.

Everything else like other movies would be like, okay, cut here, cut here, do this, do this.

I know this is just a guy to talking and we're gonna stay on it for three and a half minutes and you're gonna love it.

Just really sophisticated.

But it is three hours.

And I don't think I'd be curious what would happen if you took out the whole Sicily bit.

Because the horn cut.

Yeah.

Like you could ditch that whole thing.

And then he just comes back and I'm curious.

You could have.

That bit could have.

Could have been revealed in conversation.

Someone could like be talking to him, you know, asking him questions and he'd be answered like.

Like that new wife does at the table.

Answers a lot of the questions that we have.

A simple conversation.

But then you'd miss all that nice scenery and all that sort of feel.

It wasn't even that nice scenery.

Carry on.

Anyway, anyway, so I. I think.

And you know, some of the.

There's clearly some like stock footage as well because I don't think it was probably that big a budget really, but, you know, so there's footage of like cities or them.

I'm like, oh, that looks a bit moping.

It's fair, you know, it's fine.

So I think like, in many ways it is a 10, but I do think it's three hours.

I think I'm only going to give it an eight because again, I don't think I'm going to be in a hurry to watch.

Watch it really again.

When did you last watch it then to start?

I. I think it's like everything that we talk about that's a classic like this.

It'll be when I was worrying my, you know, who would become my divorced wife.

Okay.

And a lot of wooing with the movies.

Yeah.

And she stuck around.

So for a while anyway, until we didn't have time to watch movies.

Maybe it was a movie that held us together, but I can remember watching Godfather because I had an allergic reaction whilst.

Oh watching it.

And I went to the bedroom to basically have an allergic anaphylactic shot.

Shock.

What are you reacting to?

I don't know what it would have been that triggered it.

Did she know about that?

Are you just hiding it?

Like, oh, I'll be right back.

She knew I was gonna say, I'll be fine in three hours.

I was like, you're watching the Godfather.

Like, don't, don't pause it.

What the.

Because that was a potential film guy back then.

And like, no, cinema is everything.

It cannot be paused.

Yeah, exactly.

Now I'm just like, yeah, allergic reaction can be.

Look after me.

So it would be that.

But I don't.

I.

Now in the current age we're in, I'm not sure if I started dating someone, I'd be like, okay, you need to watch Godfather.

It's a little bit.

It's not pretentious.

It's a little bit like kind of masturbatory.

Really.

It's a little bit.

Is it a bit.

Just break it into two.

Give me.

Well, they made a part two which was equally long.

Yeah, I know.

That's.

That's the thing.

They do a TV show.

This actually reminds me of Yellowstone.

That's quite very similar.

So a family running a business, different family members dealing with stuff that differently.

So if you like Yellowstone, you might like Godfather.

But again, it's that whole meme online, isn't it?

It's like, yeah, I won't watch a three hour film, but I'll binge watch a six hour TV series.

Right.

It's too long.

I'm just gonna watch Yellowstone for five.

Hours of the week.

Yeah, exactly.

So I can't remember if I said, I think I'd go with 8.5.

I think you changed your score there.

Did I go higher?

You gave an extra point five.

You said eight initially.

Yeah.

Go with eight then.

Okay, that's fine.

You talked him out of that mark.

I didn't.

Didn't.

Yeah.

I, I thought this was a masterpiece.

It was long.

It's long.

The only negative I give this movie is it's long.

But I didn't get bored.

Obviously.

I had to watch it in four sittings, but I was always looking to come back to it.

I've made lots of notes.

It's almost like you watched it as a TV series.

Then Godfather, the TV series.

But yeah, the, the cast, the writing, like Darren said, a lot of camera work.

I did notice that as well.

Like things that you don't see these days where they would not, like you say, they won't really cut it, but the slow build of things and.

And they just let things sit.

Don't have to like mess with things.

Just even more of a natural, even.

Sunny Beating up the guy in the street.

The camera's just halfway down the street.

Yeah.

Miles away.

Yeah.

It's one take.

It's just that.

Yeah.

Also you get a full picture because there's people around him.

Yeah.

What the going on here.

But I like that there's no zooming in on you.

Punch him in the face.

Because you don't.

You don't need that.

No.

I thought this was fantastic.

I love a good heavy movie like this.

Although it was a bit long, so that's the only negative I'll give it bit.

But every scene just carried away.

Every conversation was.

Had a meaning to it.

And I like that.

I like the mixture of the.

The business and the family and how they intertwine.

Like I said, the scene where he's going to shoot him in the restaurant, that's probably the most tension I've felt in a movie I can remember.

Yeah.

I was like, I hope this lives up to the hype.

And it.

For me, it did.

So I. I'm also going to give it a 9.5.

Particularly that there's that montage as well where he's in church and then it's intercut with him having everyone killed and.

Yes.

It's like, it's.

It's like a dichotomy, isn't it?

Yeah.

It's the juxtaposition between like, you know.

Yes, I renounce Satan as I murder all these people.

Here I am praying to God.

Yeah.

Right.

Yeah.

Yes.

Yeah.

9.7 For me.

So that gives it 27.

Oh.

Which puts it in fifth place.

I've achieved my goal.

I can quit now.

There you go.

Yeah, you've done it finally in the top 10.

That was 71.

So it puts it just above it's joint fifth with back to the Future.

Ooh.

Puts it just ahead of Run all the Run and Romancing the Stone and just behind It's a Wonderful Life and Jaws.

So there we go.

So that's what we thought of the Godfather.

But we'd love to know what you think and what you thought of this.

This episode.

Send us your messages in and we'll read them out on the show.

So what do you think would be good follow up after this?

What episodes in our back catalog do we recommend?

Do you know what?

First one that came to my mind, History of Violence.

Oh, that's a good choice.

Yeah.

On a different level, I would say Snatch.

No, I think that works.

Yeah.

Yeah, Snatch, definitely.

It's got the gangster Y sort of feel, isn't it?

But more comedic side.

Comedic side of it's a lighter version.

Yeah, I think they're two good, solid choices.

I just think I need to get back some romcoms again now to yeah, why not.

Why not?

That takes us now into part three, the Listener Lounge.

In the Listen lounge we have the lobby where we have your questions, your stories and your comments.

Then we ask our question of the week and we round off by revealing next week's movie, which this time it's time to spin the wheel.

So let's go to the lobby.

So I've got an email.

We quite often get these, but I thought I'd focus in this one.

I especially appreciated your thoughtful focus on how this adaptation shifted Frankenstein from gothic horror to philosophical science fiction, as well as your discussion around creation, responsibility and the impact of absence versus obsession.

The way you unpack the film's sub context and brought out the relevance of its themes for today's conversations about technology and humanity truly sets your podcast apart.

That so this is someone who is pushing a guest.

Obviously we don't do guests.

They have listened to the episode clearly because they wouldn't have give us that praise.

But then they also offer a guest.

So I'm I just thought I normally just ignore these but I have replied since said we don't have guests but Eric Miller is the person who they I'll put a link in the show notes.

I feel like we can't have a guest.

We don't have guests but we don't do guests.

But we'll put a link to.

I'll put a link to his stuff in in the show notes.

Yeah, yeah, definitely.

I looked some of his stuff like he's is fairly well known fiction writers so.

Oh amazing.

So I'll put the what did she say?

He is a horror fiction writer, a screenwriter, and a sci fi writer with decades of Hollywood experience.

He's the Bram Stoker Award nominated editor behind Hell, Hell Comes to Hollywood and its sequel, and the author of the recent novel Whatever Happened to Uncle Ed?

Eric's screenwriting credits include sci fi's Ice Spiders, Night Skies and Swamp Shark, all films that playfully examine genre boundaries and often blend elements the way your show enjoys analyzing.

I wonder if we ever get like our own TV talk show then we then we can have guests.

Yeah, I'd love that.

Our Netflix special talk shows.

I always want to do it in a Graham Norton style.

If you have multiple Guests, but get them out together.

Yeah, better banter.

That'd be cool.

I'm looking at you, Netflix.

Thank you for writing in that.

Angela Stubbs representing Eric Miller.

Cool.

Thank you, Angela.

We do get quite a lot of those people want to guess, but they clearly usually haven't read the.

Haven't listened to the minute of the episode.

So you think, ah, they just blanket email him.

But she obviously had.

Okay, so this was another one which we were aware ofofmillionpodcasts.com they did a top 60.

They do a top 64 UK movie podcast.

So he's.

I'll read out the original email.

So my name is Vanit and I'm the founder of Million Podcasts.

I'm excited to share that your podcast Movies in a Shell has been recognized as one of the top 60 movie podcasts by our web panel.

So I'll put a link to that in the show notes as well.

So you can see I think we are currently number nine.

Nice.

There is some big hitters up there like Sean Comet.

Is it Sean Mark Commode?

Yeah, he's up there.

And there's another couple of famous people as well.

So it's nice to be there because we're not famous and no one knows who we are.

What do you mean?

But obviously there's some celebr.

Darren students know who we are now.

And there's some podcasts in there backed by big networks.

So I just thought I'll put a link to the channel so you can check that out as well.

And that's by Vineet Agarwal.

He is the founder of Million Podcasts.

So there you go.

So this week's question of the week is which movie has changed your perception the most?

So it can be of anything, of a person, of a religion, of anything, movies, whatever it is, we'll put it in the show notes and we'll put it on our socials as well.

So.

So send them in and we'll read them out on next week's show.

Okay, that takes us on to next week's movie.

It's time to spin the wheel.

I like doing this.

Scares us.

Have we got many choices?

We have a lot.

Okay, it's time to spin the wheel.

Here we go.

Here we go.

It's Solo A Star Wars Story.

Oh, that's kind of cool.

So you just passed May 4th.

Yes.

And it's May the Sith tomorrow.

That was recommended by Phil Williams.

That's his second entry.

The last one was Falling Down.

Oh, yes.

Okay.