At the 53:00 mark in “The Godfather II,” Vito Corleone loses his job at a grocery and later commits his first robbery – an action that will serve as the foundation for his status as a crime boss. When the owner of the grocery store tells Vito the bad news, the camera is at an eye-level angle. The shot reverse shot technique is used, and we see the reactions of both men at different points in the conversation. Vito is forgiving but is no doubt worried, as he has a wife and son to take care of at home. When Vito leaves the store, a dolly shot is used to establish setting, and we see what a typical 1920s New York street looks like – busy, dirty, and crowded. Vito chooses not to tell his wife about his job, and the next day he agrees to commit a robbery with his neighbor Peter Clemenza.
As Vito and Peter walk to the house they are about to rob, a locked down shot is used. Vito and Peter are still on screen, but slowly disappear into the street, and setting becomes the main focus. Upbeat Italian music plays in the background to match the pace of this busy New York street – there are people of all ages on the block, some haggling at market stands, others just passing by. A small girl can be seen playing with chickens and dogs, presumably while waiting for her mother to finish shopping. When Vito and Peter arrive at the house, the upbeat music fades out, and for the rest of scene there is no music, only dialogue and background noise. Vito is visibly hesitant when breaking in the house and moving around the furniture. He is unsure of whether or not he really wants to be a part of Peter’s robbery, although this crime is much less cruel than the murders he commits later in the film. During another locked down shot, Vito tries to only be a witness to this crime, standing off to the side and making sure he doesn’t touch or move anything. With Peter’s prodding, however, Vito begins to get more involved in the robbery, and even stands by as Peter is ready to draw a gun at a police officer checking in on the house. The police officer eventually leaves, and there is no bloodshed. Vito and Peter successfully commit their first crime together, and the upbeat Italian music follows them as they carry the carpet to Vito’s apartment, triumphant and happy.
Vito’s apprehensiveness in this flashback is a sharp contrast to the Vito Corleone most people know from the first Godfather film. In the next scene, Vito looks on lovingly at his wife and young son as they use the carpet he just stole. We are reminded of the strong familial bonds Vito is committed to, and the actions of his son Michael later in the film contrast Vito’s beliefs.
