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First scene: suspenseful music, close-up camera shots on Nino and Don Vincenzo's face. Focus on the eyes. Dilated pupils, bloodshot, etc...

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Second scene:

Microphone, automatic opening door, kind of like the Scarface stronghold. Big Brother is always watching type of thing (somewhat communist imagery when thinking about capitalism). Minimalist office, almost a surreal space. Nino seems eager to please, his boss isn't biting. Not so claustrophobic. Not intimate.

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Second scene
- Significantly more zoomed out, attempt to include body language and physical position in the dialogue.
- establishes power in an unconventional manner, usually the individual who is "taller" or higher up would be seen as the more powerful.
- Here the more powerful individual is seated behind a desk -- perhaps related to his birthplace = United States (desk life)

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The sinister music, the ominous shadows on their faces in the car, the fact that it's nighttime, and the closeups on Nino's and the Don's faces all make this scene very intimate and create a dark foreshadowing for what is to come. Nino knows that he has been sucked into the Mafioso family and that he cannot get out.

The lighting in this scene coming from the windows makes this scene feel like almost the exact opposite from the first scene. The shot is much more spacious and not as intimate as the car scene, since Nino is trying to be much more professional with his boss.

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The car looks extremely cramped, as if the world is closing in on Nino. Don Vincenzo dominates the screen and Nino is pushed aside. When we get a closeup of Nino and Don Vincenzo's face, we see Nino's fear. The scene is highly intimate.

Scene 2: The setting of the second scene is much more spacious. Nino and his boss are sitting further apart than the scene in the car. The scene seems less intimate and more formal.
Also interesting that both Don Vincenzo and the factory boss use the word "piacerino" when asking Nino to do them a favor.

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Daniel- Nino is constantly looking up to Don Vincenzo throughout the scene. Whether that is in a side angle or a close up on Nino, you can tell his eyes are always looking up. There also seems to be some sort of connection between the two, as many have said some sort of intimacy. This could possibly be their connection that they share of the South. They are also gangsters in the front, that is not really revealed until later in the scene. It is the idea that the gangster is always around, working in the shadows and is ready to kill.  

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Daniel- Nino is constantly looking up to Don Vincenzo throughout the scene. Whether that is in a side angle or a close up on Nino, you can tell his eyes are always looking up. There also seems to be some sort of connection between the two, as many have said some sort of intimacy. This could possibly be their connection that they share of the South. They are also gangsters in the front, that is not really revealed until later in the scene. It is the idea that the gangster is always around, working in the shadows and is ready to kill.  

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Scene One:
My first impression of the scene was that it was very intimate/private. It takes place in the car, which is already a tight space, and the camera focuses on that aspect. When Don Vincenzo grabs Nino's hand, the focus is on this interaction. I also found it interesting that, when Don Vincenzo gives Nino the "opportunity" to back out, the focus is on their eyes. They say that the eyes are the window to the soul, and I think this moment captures that, revealing each character's true thoughts and intentions.

Scene Two:
This scene made me think about one of our previous readings, which defined precision as an important quality connecting the culture of the North and the South. I think that this precision is a result of Nino's blind, unwavering loyalty, which I'd argue is also an important factor to consider. What's interesting here is that arguably 'shady" happenings are occurring in a more open, modernized space. I'd argue that this scene is ultimately less intimate that the scene in Sicily.

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2. The power dynamic, the fact that the boss is seated while Nino essentially begs by standing. Moreover this idea that the boss has to "let him" take vacation time even though it's a fairly normal request. The Don "lets him" go to Milan even though he theoretically should be able to go. Up until this moment the camera follows Nino, but when we meet the boss the camera takes more interest in him. Comparing the power dynamic between Nino and boss and Nino and the Don is interesting. Very much the same.

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Part 1 - Something that I found interesting was how Nino is forced into the confined space of the car. In the car, he is up close with the Don. I think that the close quarters of the car kind of conveys the way Nino feels trapped in this situation.

Part 2 -  I think the office location makes this scene a lot more formal and it doesn't have the same intimacy as the first one. I think it is interesting how it seems like Nino has more agency in his decision to do as the boss asks. He doesn't really seem trapped in this location due to its openness. However, I feel like he really has no choice and has to perform the bosses request.

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First Segment
-The extreme close-ups of the eyes of both Nino and the Don

-The use of cuts to the people in the front seat, showing that they are listening to the conversation and approving of Nino's choices.

-Following Nino's hand to the Don's heart as if to show a deeper connection--possibly a blood connection (feeling the heart beat)

-Nino gets to keep his gun when he enters the car--it isn't taken away from him. There is a mutual respect flowing between Nino and the Don that does not require the other goons to remove Nino's gun.

Second Segment
-Both are very lively and sharing in conversation.

-The room is very large and well lit; this is more of a boss and worker relationship, very different from the conversation between Nino and the Don.

-Nino says that everyone in his home town is in the Don's heart, specifying the familial relationship shown in the first segment.

-Nino is more talkative; he is engaging in conversation with his boss even though he gets cut off.

-Nino also refuses the smoke from his boss, but he would not refuse anything from the Don

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Seems like a sort of scared child to father bond. There is obviously a history between the two.
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Again a lopsided power dynamic where Nino is the lesser power and must be respectful to this boss. It also just shows how the boss is another mafioso who is more sophisticated/elegant. Instead of being scared nino is just more submissive.

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The exaggerated facial expressions and movement of the camera to only show the eyes gives a strangely fearful yet also intimate mood. Use of the word "Mama" also reinforces this. The third character sitting in the front's facial expressions are also very uneasy and out of place.

The gadgets and technology all over the scene is a set up to the stark contrast of Sicily. Another contrast is the friendliness and easygoing nature of the conversation, which is such a dramatic departure from his conversations with Don Vincenzo or even his father. It's almost phony or a front; while his talks in Sicily are emotional and intimate. The scenes in Milan are mostly meant to introduce these contrasts later on.

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What stood out to me in this scene were the camera angles/close-ups of the characters. The ending scene in which there is the extreme close-up on Nino and Don Vincenzo reminds me of one of the ending scenes of Little Caesar. There is intimacy here, but also fear being instilled in Nino. At the same time, he seeks to please Don Vincenzo. As Mama orders, Child obeys, and despite Nino's desire to please Nino, he is terrified nonetheless

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Joanna

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The scene was extremely claustrophobic; the lighting coming from the back darkens half of both Nino and Don Vincenzo's face. The close ups of both faces, especially when showing the fear in Nino's eyes creates a very stifled atmosphere.

The atmosphere in the second scene was much lighter in comparison. The room was brightly lit, very modern, and extremely spacious in comparison to the backseat of the small car. Nino is seen wearing a light colored suit, similar to the one Don Vincenzo was wearing in the first scene. He is also speaking quicker, and his facial expressions are much less fearful.

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The first thing that stuck out to me was Don vincenzo putting Ninos hand on his chest. The shot zoomed in a stayed on the hand for a while which played up into the intimacy.

One thing that I saw in the second scene was the body language from Nino. When his boss mentioned Calamo and the south he held his head high and was very excited. This made me see the pride that Nino has for the south and where he is from.

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Seemed almost intimate with the closeness between the two. Nino shows his fear through his eyes as well as how he was forced in the car and (I think) intimated into agreeing. Dons POWER conveyed through his eyes.

It feel like Nino is being carted around to show he is powerless in this setting too: he was about to leave on vacation and called back in through the speaker (like the little kid who keeps finding him in Sicily). The automated door is another example where Nino is powerless in the situation, he can't even open it himself. The boss seems to keep interrupting Nino when he speaks. I think it is contrasted to the worker underneath him where we is able to run away with his pen compared to the boss where he keeps thanking him for nothing.

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- The extreme closeups (ECUs)
- High contrast (lens choice, exposure) between white and black
- the automobile is very intimate for a setting, made even more intimate by the ECUs
- tracking shots on the hand
- mother/son parent dynamic
- literally a shimmer in Nino's eyes showing his innocence up until he learns 'the truth'

- the button on the door is a thing of northern modernity as we discussed in the reading but it is also a southern 'allowing'
- Don V 'allows' Nino to go to Milan and get a good job
- Nino's boss 'allows' him vacation time and also must 'allow' him to leave his office
- I feel this form of 'allowing' and 'favors' is a very southern expression and here we see it conflated with this 'northern' coded modern door

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This scene was super close up. I remember one particular moment where Lattuada zooms in on Nino's eyes. He is scared, almost comically / childishly so, and knows EXACTLY what he has to do, but there is a LOT of beating around the bush, colloquially

vs. the scene at the beginning

Nino is cheerful, and very overtly respectful. The lighting is bright and the modernity is almost comical. E.g. a woman speaking in various European languages and the Factory Boss's automatic door - which is excessive. At the end of the day this is a critique on capitalism and makes it seem like people do whatever then can - in an extra sense - to look high class

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The extreme closeness of it

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There exists a power dynamic shown by the height and angle of the two. Nino appears powerless; it is not a favor he can say no to

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I thought this scene illustrated an interesting power dynamic. Nino needed to be let into the office, and then let out. He was rambling and speaking very quickly. He seemed to be trying to appeal to the doctor. In terms of mise en scene, the differences in seating (chairs, desk, etc.) and height were very noticeable. I can't get over the door, though. The doctor had a button in order to allow Nino to leave. Very powerful

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In this scene, I think Nino is much more relaxed and aware of the conversation. He is asking for something, a vacation, whereas in the first scene he is being asked to do something. In both scenes, he is in a vulnerable position and must appeal to the boss in the space. He definitely is brown-nosing, but he is much more afraid of the Don and in a much more confined space. His work boss seems less threatening though he holds a lot of power over Nino’s career