The scene between Michael and Fredo Corleone in The Godfather Part II, where Michael rejects Fredo as a brother, utilizes pointed shot-reverse shots and the occasional wide shot to emphasize the nature of the brothers’ relationship. The scene opens with a wide angled shot where both brothers are visible and seated directly opposite each other, indicative of their hostile relationship. Their conversation, however, is conveyed in shot-reverse shots and is even more telling based on the lighting behind each character closed on in the frame. When Fredo is speaking, in his laid back chaise, light is lacking and the little that comes through is almost amber. While Michael is speaking, standing I might add, the natural, bright light from the window only serves to underscore the coldness toward his brother. Although a low angle shot is not employed here, Michael’s position standing is also indicative of the power he has over his brother. This is even further accentuated at the end of the scene where the camera resumes the wide shot initially employed and Michael walks out of the frame—as opposed to the camera moving. Michael has complete control, not only over Fredo but, the entire situation. Camera techniques are effectively engaged to display the juxtaposition between the brothers, which eventually leads to Michael’s disentanglement with Fredo.
