Typing cash register, footsteps. As Michael feelsTyping cash register, footsteps. As Michael feels

Typing can be heard in the
background throughout the scene in which Vito pays Sollozzo a visit. Whenever Sollozzo
is talking, clacks from the keyboard can be heard every now and then, giving
the feeling of a normal day. However, the typing completely ceases as Vito
speaks. This shows how much power and influence Vito possesses. His words are
more important than anyone else’s and this subtle use of sound shows that.

the attempt made on Vito’s life, Michael meets with Sollozzo and McCluskey to
see if there is a way to move forward together. Before Michael uses the
restroom, certain sounds begin to magnify: Sollozzo’s voice, the cash register,
footsteps. As Michael feels more and more anxious about what he’s deciding to
do, the sounds he hears become overblown in his own head and the audience hears
this as well. In the restroom, a train passes by, also louder than it needs to
be. As Michael reaches behind the tank, the train sound dies down. He recovers
the hidden gun and steps out of the stall, every footstep echoing loudly around
the small room. As he runs his hands nervously through his hair, another train
passes by, louder even than the last. He walks out to face Sollozzo and
McCluskey, whose utensils clang noisily off his plate. Michael sits and tries
to listen to Sollozzo, his eyes roving nervously around the table. Sollozzo’s
amplified voice starts to meld with another train, squealing past the
restaurant, eventually overtaking Sollozzo completely. Just when the sound
becomes unbearable, Michael stands up and shoots Sollozzo in the forehead,
stopping the train sound completely.  He
turns to McCluskey, first shooting him in the throat. McCluskey gurgles as
Michael shoots him again in the forehead. As McCluskey falls to the ground, he
brings the table and all its contents crashing and clanging with him. Even as
Michael hurries out, the gun lands unnaturally noisily on the floor. Making a
hasty retreat, Michael bumps the camera on the way out, right before the
cacophony of operatic music begins to play. Moving from intensely dramatic
diegetic to non-diegetic sound emphasized Michael’s struggle here and his transition
from observer to active participant in his family’s affairs. 

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