Hi, this is Steve.

In art, there is a concept known as negative space.

It refers to the empty space around the subject, and it's often as important to the work

as the subject itself.

Godfather too is unquestionably a masterpiece of cinema with incredible performances, beautiful

cinematography, and a story that is as profound, disturbing, and moving today as it was almost

40 years ago.

It is also, however, a film whose power comes almost as much from its ambiguity as it does

from the clarity of its storytelling.

In other words, often it's what we don't know, the film's negative space, which makes

it continue to fascinate no matter how many times we watch it.

In the second installment of our exploration of the Godfather Part II, John and I wrestle

with this ambiguity.

For instance, what exactly is the quiet, contemplative, Vito Corleone thinking as he begins

his relationship with the criminal clemenza?

And perhaps even more compelling, exactly what does Michael know and when does he know it?

Is he sure from the beginning that it was Heim and Roth behind the attack on his compound,

or does he also suspect Frank Pantangeli and who killed the assassins at the Corleone

estate?

Who is that dangerous looking man in black that appears at Michael's side without any

explanation?

And perhaps most importantly, exactly when does Michael begin to suspect his brother,

...