hospital marks the beginning of Michael’s transition, and his eventual rise to the position of Don is foreshadowed with the help of Enzo the baker, a minor character who brings a bouquet of carnations. Whereas in the opening scene of the film Don Vito wore a red carnation and his sons and henchmen wore white carnations, the carnations Enzo carries are pink, suggesting the vulnerability of Vito Corleone and the increased control Michael Corleone asserts. With Vito transferred to a safer room, Michael holds his father’s face intimately between his hands and proclaims his loyalty: “I’m with you now; I’m with you.” This pivotal step in Michael’s transition sets off the film’s iconic score (1:06:16). Michael then rejoins Enzo outside, where they pretend to be armed bodyguards to ward off Tattaglia’s hitmen (1:07:39). The ruse works and the would-be assassins drive on to avoid a battle. Afterwards, a terrified Enzo tries to light a cigarette to calm his nerves, but his hands shake too uncontrollably (1:08:13). Michael takes the lighter from Enzo and lights his cigarette for him with ease, the film dedicating a shot to his steady hand, as well as Michael’s realization of his own steadiness (1:08:16). It is as if Michael’s experience in the field of combat has prepared him for the high intensity of the criminal underworld. After the hitmen drive off, the police who were called much earlier, finally arrive. Michael is furious and accuses the police captain, McCluskey, of corrupt association with other crime families (1:09:13). McCluskey punches Michael in the jaw. Michael finds himself, as Bonasera did, faced with the disregard and corruption of the establishment that is supposed protect him and his family. For Michael the clear distinction between legitimacy and illegitimacy blurs further. The Assassin After the altercation, Michael is sent home where he tells the family what, and as the scene opens, Sonny, Tom Hagen, and henchmen Tessio and Clemenza, are discussing their counterattack on the Tattaglia family. Michael is silent, even as the camera makes him the focal point of the scene (1:11:10). Sonny and Tom move around as they argue, uncertain about the best plan of action. Michael sits still in the center of the room, confident and collected, just as his father was before a frantic Bonasera in the film’s opening scene. Again, Michael is the steady hand: his war-time experience makes him a natural. When Michael finally speaks, the room falls silent and a light (resembling a spotlight) falls on his face. The background blurs and the camera moves in on him. He says they must respond instantly to save Pop’s life, demonstrating that, though they intend to go on the offense, he is motivated by the desire to protect family (1:12:58). Then, in a moment that completes his transition from military hero to criminal, Michael volunteers to murder Sollozo (a drug dealer associated with the Tattaglia family) and Captain McCluskey. 67
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