this is bbc news. the headlines: the world's richest man, elon musk, has pulled out of a $41; billion bid to buy twitter. a lawyer for the tesla chief executive has written to twitter�*s legal office, accusing the company of not complying with its contractual obligations. but twitter�*s board says it will sue musk to enforce the deal. president biden has signed an executive order to help safeguard women's access to abortion. the move follows the supreme court overturning the landmark ruling that made the procedure legal across the united states. mr biden called the ruling "an exercise in raw political power". world leaders have reacted with shock to the killing of the formerjapanese prime minister shinzo abe. injapan itself, the current prime minister described the shooting at a political rally as "an unforgivable

"act of brutality". his attacker was a former member of the japanese navy. the labour leader sir keir starmer and his deputy angela rayner have been cleared by durham police of breaking lockdown rules. the force was looking into an event last april during election campaigning, when sir keir was pictured drinking a beer in the office of another labour mp. he'd promised to resign if he was fined. at the time, indoor socialising between different households was banned but the police have said there was no case to answer, because of an exemption to lockdown rules for "reasonably necessary work". our political editor chris mason reports. april of last year, sir keir starmer�*s having a beer and a curry. was this in breach of the covid rules at the time? durham constabulary looked

into it, and today said no. people said to me i was taking a risk by saying i would step down if i was fined, but it was never about that. for me, it was a matter of principle. it shouldn't be controversial to say that those who make the law can't break the law. have you heard from durham police, sir keir? any comment on their investigation? it was the day after the local elections in may that keir starmer and his deputy, angela rayner, found out that they were under investigation by the police. it all related to an event in this building, which includes the office of the labour mp for durham. labour always argued they were working at the time. all this was potentially deeply awkward for sir keir because when borisjohnson and former chancellor rishi sunak were fined for this birthday gathering in downing street, the labour leader had called for them to resign. the guilty men are the prime

minister and the chancellor. they've dishonoured all of that sacrifice. afternoon. and when durham police started their investigation into him, he said... if the police decide to issue me with a fixed penalty notice, i would, of course, do the right thing and step down. the investigation effectively hit the pause button on his leadership for two months, with the prospect that his career could be about to be over. sir keir used his words to draw a contrast between what he saw as his integrity and the prime minister's lack of it, but, of course, mrjohnson has now resigned. chris, i think we've got you first. sir keir, while you must be relieved, isn't this the week that yourjob has actually gotten much harder with the resignation of boris johnson, the man you've defined yourself against? no, not in the slightest. the contrast between the tory party, which is tearing itself apart with a cast list of wannabe leaders who've

all propped up this prime minister for months and months and months, knowing he's unfit for office, contrast that to the labour party. keir starmer is staying, his opponent is changing, but who will it soon be? chris mason, bbc news, at westminster. now on bbc news, on the 50th anniversary of the godfather, often proclaimed the greatest film ever made, talking movies celebrates this landmark classic. a warning — this programme contains violent scenes from the godfather. the first time... 50 years ago roberta flack song topped the charts. ,., , .,

roberta flack song topped the charts. , ., w charts. ever i saw your face. we are today _ charts. ever i saw your face. we are today seeing - charts. ever i saw your face. we are today seeing the - we are today seeing the progress. we are today seeing the progress-_ we are today seeing the ro . ress. , ., we are today seeing the rouress. , ., ., progress. president nixon made a historic visit _ progress. president nixon made a historic visit to _ progress. president nixon made a historic visit to china - progress. president nixon made a historic visit to china and - a historic visit to china and in britain, there was a seven—day miners strike. and in the cinema world, there was a momentous event which many claim is the greatest movie ever made was launched, portrait of an italian—american crime family in new york in the 19405 crime family in new york in the 1940s and 50s. it was for a time the highest grossing film ever made, a blockbuster but was also a work of great art. it was the godfather. i’m was also a work of great art. it was the godfather. i'm going to make him — it was the godfather. i'm going to make him an _ it was the godfather. i'm going to make him an offer— it was the godfather. i'm going to make him an offer he - it was the godfather. i'm going to make him an offer he can't. to make him an offer he can't refuse. ., ., ., ~' refuse. hello from new york, i'm tom _ refuse. hello from new york, i'm tom brook— refuse. hello from new york, i'm tom brook and _ refuse. hello from new york, i'm tom brook and welcome l refuse. hello from new york, | i'm tom brook and welcome to our talking movies godfather anniversary special. half a century on, we celebrate and reassess the landmark classic directed by francis ford coppola, starring movie greats marlon brando, al pacino, robert duvall, james khan and diane keaton.—

diane keaton. the 'ustice, we must no diane keaton. the 'ustice, we must go to h diane keaton. the 'ustice, we must go to don _ diane keaton. thejustice, we must go to don colleoni -- i must go to don colleoni —— caan. the opening scene takes place in don vito corleone in�*s office on the day of his daughter's marriage. pm daughter's marriage. an undertaker _ daughter's marriage. an undertaker is pleading with him to take extra leave —— means to attack men who disfigured his daughter. attack men who disfigured his dau:hter. ,, , , , attack men who disfigured his daughter._ it - attack men who disfigured his daughter._ it is i attack men who disfigured his daughter._ it is a | daughter. she suffers. it is a scene that — daughter. she suffers. it is a scene that signals _ daughter. she suffers. it is a scene that signals what - daughter. she suffers. it is a scene that signals what is i daughter. she suffers. it is a scene that signals what is to | scene that signals what is to come, what this iconic film is really all about.— really all about. sunday, and when that— really all about. sunday, and when that day _ really all about. sunday, and when that day comes, i i really all about. sunday, and when that day comes, i will. when that day comes, i will call upon you to do a service for me. ., , ,. , for me. the opening scene is very sombre... _ for me. the opening scene is very sombre... until- for me. the opening scene is very sombre... until that i very sombre... untilthat day--- — very sombre... untilthat day--- it— very sombre... untilthat day... it is _ very sombre... untilthat day... it is also - very sombre... untilthat day... it is also very i day... it is also very deliberate. day. .. it is also very deliberate.- day... it is also very deliberate. ,. , . , deliberate. the scene is really important- — deliberate. the scene is really important. what _ deliberate. the scene is really important. what other - deliberate. the scene is really important. what other first i important. what other first words _ important. what other first words in _ important. what other first words in the film? | important. what other first words in the film? i believe in america- _ words in the film? i believe in america. all _ words in the film? i believe in america. all movies - words in the film? i believe in america. all movies about i words in the film? i believe in | america. all movies about the american _ america. all movies about the american dream. _ america. all movies about the american dream. america i america. all movies about the american dream. america is l american dream. america is where i made _ american dream. america is where i made my _ american dream. america is where i made my fortune. . american dream. america is i where i made my fortune. and about the _ where i made my fortune. and about the corruption _ where i made my fortune. about the corruption of the american dream. i about the corruption of the american dream.— about the corruption of the american dream. i wish you to know -- _ american dream. i wish you to know... right _ american dream. i wish you to know... right there _ american dream. i wish you to know... right there that i

know... right there that opening _ know... right there that opening scene _ know... right there that opening scene in - know... right there that opening scene in so i know... right there that. opening scene in so many know... right there that i opening scene in so many ways encapsulates anything about the film _ encapsulates anything about the film. , . , , film. usually give this 'ob too? this d film. usually give this 'ob too? this grand i film. usually give this job i too? this grand three-hour film. usually give this job - too? this grand three-hour opus was the product _ too? this grand three-hour opus was the product of _ too? this grand three-hour opus was the product of many - was the product of many different talents. robert duvall appeared in the movie is the colleoni family lawyer advisor tom hagar. i the colleoni family lawyer advisor tom hagar. i have a secial advisor tom hagar. i have a special practice _ advisor tom hagar. i have a special practice and - advisor tom hagar. i have a special practice and i i advisor tom hagar. i have a| special practice and i handle one more client. at the age of 91 he firmly believes the epic bears handiwork and stamp of one individual in particular. coppola. francis ford coppola. his the beginning of the end of it all. although in the beginning they were trying to fire him during the first couple of weeks of work. and i was aware and i gained a lot of respect for him. it was his vision from a to z and they tried to have a standby directed to fire him, but it was coppola's vision and his filmmaking and his casting that made it all work. i mean, for

me, for everybody.— me, for everybody. the inspiration _ me, for everybody. the inspiration for - me, for everybody. the inspiration for the i me, for everybody. the inspiration for the godfather came partly from the bestseller of the same name by american author mario puzo published three years before the full�*s release. in an interview decades ago, coppola who ultimately worked with guzzo on the godfather screenplay revealed he did not have much initial enthusiasm for the project. —— puzo. anyone who remembers the book, it had a lot of sleazy aspects to it but of course were cut out for the movie and i didn't like it very much for those reasons and i was very frightened of getting once again co—opted into another project like low budget that was a very inexpensive film and in those days they wanted young directors because they wanted cheap and i turned it down actually once or twice. much of the action in the godfather takes place at this house on long full avenue in staten island in new york. it served as the home to the don corleone family. the narrative that unfolds from this house

provides audiences with a portrait of an italian—american crime family in the 1940s and 50s. but it's more than that. it tells a story of one family member's transformation, that of michael, who loses his soul. don't ever take sides with anyone against the family again. anyone against the family aaain. , ., , , anyone against the family aaain. , ., _ , anyone against the family aaain. , ., _ again. obviously it is about famil , again. obviously it is about family, obviously _ again. obviously it is about family, obviously it - again. obviously it is about family, obviously it is i again. obviously it is about| family, obviously it is about power— family, obviously it is about power but i think it is also, in many— power but i think it is also, in many ways, a film about the loss _ in many ways, a film about the loss of— in many ways, a film about the loss of one's self—awareness and — loss of one's self—awareness and the _ loss of one's self—awareness and the loss of one's identity because _ and the loss of one's identity because you know, if you look at the — because you know, if you look at the character of michael corleone, you know, he starts off the — corleone, you know, he starts off the film is the one person in the — off the film is the one person in the family who's self—aware. he's_ in the family who's self—aware. he's really— in the family who's self—aware. he's really aware of what the family— he's really aware of what the family does. he's really aware of what the family does-_ he's really aware of what the family does. this is my family, it is not me. _ family does. this is my family, it is not me. and _ family does. this is my family, it is not me. and over- family does. this is my family, it is not me. and over the i it is not me. and over the course — it is not me. and over the course of _ it is not me. and over the course of the _ it is not me. and over the course of the film, i it is not me. and over the course of the film, he i it is not me. and over the l course of the film, he loses that — course of the film, he loses that self—awareness. it that self—awareness. involves that self—awareness. it involves my intelligence and makes me very angry. he no loner makes me very angry. he no

longer has _ makes me very angry. he no longer has the _ makes me very angry. he no longer has the sense - makes me very angry. he no longer has the sense that i makes me very angry. he no . longer has the sense that what the family is doing is wrong. i the family is doing is wrong. thought the family is doing is wrong. i thought you weren't going to become _ thought you weren't going to become a _ thought you weren't going to become a man _ thought you weren't going to become a man like _ thought you weren't going to become a man like your- thought you weren't going to i become a man like your father. thate— become a man like your father. that's what— become a man like your father. that's what you _ become a man like your father. that's what you told _ become a man like your father. that's what you told me. - become a man like your father. that's what you told me. my i that's what you told me. my father— that's what you told me. my father is _ that's what you told me. my father is no _ that's what you told me. my father is no different - that's what you told me. my father is no different than i that's what you told me. my. father is no different than any other— father is no different than any other powerful— father is no different than any other powerful man. - father is no different than any other powerful man. any i father is no different than any other powerful man. any man whose — other powerful man. any man whose responsible _ other powerful man. any man whose responsible for- other powerful man. any man whose responsible for other. whose responsible for other pe0ple~ _ whose responsible for other --eole. �* whose responsible for other neale, �* ., , whose responsible for other n-eole. �* ., ., people. i've always felt that the godfather _ people. i've always felt that the godfather was - people. i've always felt that the godfather was a - people. i've always felt that the godfather was a really. the godfather was a really alyssa naeher gangsters than about power and powerful families and their succession of power and the machiavellian way that real power works in the world and you know obviously, i was more interested in those things but those themes could apply to shakespeare plays or to any piece that deals, greek drama, really, with bigger themes, and that's more what had, my intention.— that's more what had, my intention. the godfather is made at — intention. the godfather is made at the _ intention. the godfather is made at the start - intention. the godfather is made at the start of- intention. the godfather is made at the start of the i intention. the godfather is i made at the start of the 1970s made at the start of the 19705 and it's— made at the start of the 19705 and it's a _ made at the start of the 19705 and it's a very dark period for america _ and it's a very dark period for america and i think that darkne55 america and i think that darkness is reflected in the film —

darkness is reflected in the film. ~ . ., ~ , film. what do you think this is, this is — film. what do you think this is, this is an _ film. what do you think this is, this is an army _ film. what do you think this is, this is an army where i film. what do you think this | is, this is an army where you ship a — is, this is an army where you ship a mile _ is, this is an army where you ship a mile away? _ is, this is an army where you ship a mile away?— is, this is an army where you ship a mile away? the error of vietnam. _ ship a mile away? the error of vietnam, political— vietnam, political a55a55ination5. vietnam, political assassinations. ., ~' ., ., assassinations. you know how naive you _ assassinations. you know how naive you sound? _ assassinations. you know how naive you sound? why? i assassinations. you know how. naive you sound? why? senators and presidents _ naive you sound? why? senators and presidents don't _ naive you sound 7“ senators and presidents don't have - naive you sound 7“ senators and presidents don't have men. and presidents don't have men killed? — and presidents don't have men killed? is — and presidents don't have men killed? , , . . , killed? is being naive, kay? countries — killed? is being naive, kay? countries coming _ killed? is being naive, kay? countries coming out i killed? is being naive, kay? countries coming out of i killed? is being naive, kay? countries coming out of the | killed? is being naive, kay? i countries coming out of the 60s countrie5 coming out of the 605 and a _ countrie5 coming out of the 605 and a lot— countrie5 coming out of the 605 and a lot of people are wondering if the american praiect _ wondering if the american project can really continue. mr project can really continue. corleone i5 project can really continue. ij�*i corleone is a man project can really continue. m corleone is a man who insists on hearing values immediately. the film reflects the sense that — the film reflects the sense that the characters and the country _ that the characters and the country and their family, which in many— country and their family, which in many ways as a microcosm of the country. _ in many ways as a microcosm of the country, is heading towards a very— the country, is heading towards a very dark— the country, is heading towards a very dark place.— a very dark place. look how they massacred _ a very dark place. look how they massacred my - a very dark place. look how they massacred my boy. i a very dark place. look how- they massacred my boy. marlon brando was _ they massacred my boy. marlon brando was cast _ they massacred my boy. marlon brando was cast in _ they massacred my boy. marlon brando was cast in the - they massacred my boy. marlon brando was cast in the pivotal. brando was cast in the pivotal loan rivarola don corleone who had a reputation for being difficult in the studio did not want him a couple are prevailed and his performance ended up defining the film. i and his performance ended up defining the film.— defining the film. i have a sentimental _ defining the film. i have a sentimental weakness i defining the film. i have a sentimental weakness for j defining the film. i have a i sentimental weakness for our children and i spoil them, as you can see. children and i spoilthem, as you can see-—

you can see. they talk when they should _ you can see. they talk when they should listen. - you can see. they talk when they should listen. it - you can see. they talk when they should listen. it was i you can see. they talk when j they should listen. it was 47 years old when shooting began in the low point of his career. he did a screen test for the part and taught handkerchiefs in his mouth to create the voicey wanted.— in his mouth to create the voicey wanted. what is in this for my family? _ voicey wanted. what is in this for my family? during - voicey wanted. what is in this for my family? during filming j for my family? during filming he wore this _ for my family? during filming he wore this dental— for my family? during filming he wore this dental plumper, | he wore this dental plumper, now in a museum, to make him sound and look different. horse sound and look different. how did things _ sound and look different. how did things get _ sound and look different. how did things get so _ sound and look different. how did things get so far? - sound and look different. how did things get so far? i - sound and look different. fin" did things get so far? i don't know. ., , . . know. coppola said he wanted, ou know. coppola said he wanted, you would _ know. coppola said he wanted, you would get _ know. coppola said he wanted, you would get for— know. coppola said he wanted, you would get for the - know. coppola said he wanted, you would get for the part i know. coppola said he wanted, | you would get for the part even brando — you would get for the part even brando or— you would get for the part even brando or 0livier and 0livier would — brando or 0livier and 0livier would not have been good for that part _ would not have been good for that part. but brando, he took certain— that part. but brando, he took certain chances with a certain mouthpiece and so forth but it worked — mouthpiece and so forth but it worked because he could bring an inner— worked because he could bring an inner 5en5e worked because he could bring an inner sense of intensity and truth _ an inner sense of intensity and truth within himself. you know? within— truth within himself. you know? within quotation marks of the park. — within quotation marks of the park. you _ within quotation marks of the park, you know? he put a billboard, he put line5 here, you —

billboard, he put line5 here, you know? so he had his own way of working — you know? so he had his own way of working-— of working. when you say he read his lines, _ of working. when you say he read his lines, he _ of working. when you say he read his lines, he relied i of working. when you say he read his lines, he relied on l read his lines, he relied on cue cards? was not it? absolutely. not all the time but like _ absolutely. not all the time but like the scene with i guess pacino— but like the scene with i guess pacino and the gardens... in my lifetime, not _ pacino and the gardens... in my lifetime, not to _ pacino and the gardens... in my lifetime, not to be _ pacino and the gardens... in my lifetime, not to be careless... i lifetime, not to be careless... he would lean back and look uum — he would lean back and look u... ~ ., ., ., . , up... woman and children can be careless but _ up... woman and children can be careless but not _ up... woman and children can be careless but not man. _ up... woman and children can be careless but not man. he - up... woman and children can be careless but not man. he had i careless but not man. he had his lines written _ careless but not man. he had his lines written in _ careless but not man. he had his lines written in a - careless but not man. he had his lines written in a tree. i careless but not man. he had his lines written in a tree. or| his lines written in a tree. 0r down — his lines written in a tree. 0r down here, _ his lines written in a tree. 0r down here, you know? so he claimed _ down here, you know? so he claimed he made it spontaneous but i _ claimed he made it spontaneous but i don't — claimed he made it spontaneous but i don't think he needed to do with— but i don't think he needed to do with that way necessarily. but he — do with that way necessarily. but he worked that way and that's— but he worked that way and that's fine, you know? brando was _ that's fine, you know? brando was brando, you know? i�*m was brando, you know? i'm michael corleone. this is my father~ — michael corleone. this is my father. ., . . . father. the other crucial role to be cast — father. the other crucial role to be cast was _ father. the other crucial role to be cast was that - father. the other crucial role to be cast was that of - father. the other crucial role l to be cast was that of michael, don corleone's youngest son. luca brasi had a revolver against... i luca brasi had a revolver against- - -_ against... i went for al pacino. _ against... i went for al pacino. a _ against... i went for al pacino, a relative i against... i went for al i pacino, a relative unknown at the time. the studio was not impressed by his acting out

first and was described as anaemic. first and was described as anaemic-— first and was described as anaemic. we are all these eo - le anaemic. we are all these people bothering - anaemic. we are all these people bothering your- anaemic. we are all these i people bothering your father on a day— people bothering your father on a day like — people bothering your father on a day like this? oh, people bothering your father on a day like this?— a day like this? oh, that's because — a day like this? oh, that's because they _ a day like this? oh, that's because they know... i a day like this? oh, that's i because they know... what? a day like this? oh, that's - because they know... what? that no sicilian — because they know... what? that no sicilian can _ because they know... what? that no sicilian can refuse _ because they know... what? that no sicilian can refuse any - no sicilian can refuse any request... no sicilian can refuse any request- - -_ no sicilian can refuse any request... but ultimately pacino's _ request... but ultimately pacino's performance i request... but ultimately | pacino's performance was mesmerising and ignited his career. �* �* career. i'm with him. i'm with ou. career. i'm with him. i'm with you- pacino — career. i'm with him. i'm with you. pacino was _ career. i'm with him. i'm with you. pacino was amazed i career. i'm with him. i'm with you. pacino was amazed he i career. i'm with him. i'm with l you. pacino was amazed he got the role. you. pacino was amazed he got the role- i _ you. pacino was amazed he got the role. i thought _ you. pacino was amazed he got the role. i thought there's - you. pacino was amazed he got the role. i thought there's no i the role. i thought there's no wa i'm the role. i thought there's no way i'm going _ the role. i thought there's no way i'm going to _ the role. i thought there's no way i'm going to get - the role. i thought there's no way i'm going to get the - the role. i thought there's no| way i'm going to get the part! you know i mean? they're all these big movie stars out there and i thought what do they want? i ever going to get that kind of a role? i don't want to, i'm doing all right. my life is ok. i mean, simple, i play the piano sometimes, i go to i read, you know, i'm in new york. new york, you get everything, new york feeds you, you know, you don't need anything else.— you know, you don't need an hinu else. ., , . , anything else. from sequences shot at this _ anything else. from sequences shot at this house _ anything else. from sequences shot at this house on _ anything else. from sequences shot at this house on staten i shot at this house on staten island and elsewhere in new york and in fact as far away as sicily, the godfather comes

together extremely smoothly as a masterful movie. a behind—the—scenes it was anything but smooth. there was anything but smooth. there was a lot of friction between the director, francis ford coppola and studio executives on a number of matters.- and studio executives on a number of matters. there were fiuhts number of matters. there were fights over _ number of matters. there were fights over budget, _ number of matters. there were fights over budget, location, i fights over budget, location, setting. at one point there was even an insurrection about one of coppola's own crew, they wanted him replaced as director. it was just a fight over everything. mi; director. it wasjust a fight over everything.— over everything. my father wouldn't — over everything. my father wouldn't want _ over everything. my father wouldn't want to _ over everything. my father wouldn't want to hear - over everything. my father| wouldn't want to hear this, this— wouldn't want to hear this, this is_ wouldn't want to hear this, this is business not personal. but robert duval remembers that in the midst of all the mayhem coppola remained a steady hand working well with the actors. the thing that was good about coppola was that he didn't say how you had to do it like certain old—time directors. he wanted to see what you bring to the table. and what you brought to the table, he would watch and then... go with it if he

thought it was valid. so, you know, he had respect for actors without, you know, being totally overture. he without, you know, being totally overture.- without, you know, being totally overture. he shot on the causeway, _ totally overture. he shot on the causeway, his _ totally overture. he shot on the causeway, his dad. - totally overture. he shot on | the causeway, his dad. when totally overture. he shot on i the causeway, his dad. when i had to reveal _ the causeway, his dad. when i had to reveal the _ the causeway, his dad. when i had to reveal the news - the causeway, his dad. when i had to reveal the news of - had to reveal the news of sonny's death, that is a thing i do remember, he said do you want to do another take? i said yeah, and then i think he got what i wanted. he is not one of the directors who does 25, 30 takes. he's not one to beat a dying horse. but it was a wonderful experience. one issue facina wonderful experience. one issue facin: the wonderful experience. one issue facing the creators _ wonderful experience. one issue facing the creators of _ wonderful experience. one issue facing the creators of the - facing the creators of the godfather came from the italian—american community which subsequently embraced the field but was worried it would

display them as woodlands. the display them as woodlands. tuée italian—american display them as woodlands. tt;é: italian—american civil display them as woodlands. tt9 italian—american civil rights league, led by one of the head of a family in new york, they were trying to stamp out what was perceived as stereotyping of italian americans in popular culture and the godfather of course became at the forefront of that campaign. the league wanted it to be stopped. but the producer met with the league and joe columbo and it turned out that they, according to rudd, he only wanted one thing and that was no mention of the word mafia in the film. it had only been measured at one point in the screenplay. and so they agreed that would be taken out. and for that one simple deletion, a world of cooperation open. and some repeatedly connected individuals were allegedly cast individuals were allegedly cast in the film. individuals were allegedly cast in the film-— in the film. the godfather is memorable _ in the film. the godfather is

memorable for _ in the film. the godfather is memorable for its _ in the film. the godfather is memorable for its pilots, i in the film. the godfather is i memorable for its pilots, some of it highly choreographed. what about the violence in the godfather?— godfather? were they discussions _ godfather? were they discussions about i godfather? were they i discussions about that? godfather? were they - discussions about that? well, some of the stuff today, some of the violence is very indulgent. but there was a reason for it in the godfather. coppola knew how to handle that well. tn coppola knew how to handle that well. .. coppola knew how to handle that well. .: , ., well. in fact, the studio reportedly _ well. in fact, the studio reportedly wanted i well. in fact, the studio reportedly wanted the i well. in fact, the studio i reportedly wanted the film to be more violent to make the picture more sellable at the box office rather than just have an artistic sensibility which they feared coppola might deliver. the godfather is in many ways a classic new york movie and francis ford coppola made ample use of locations around the city. capturing the period detail. much of the shooting was gunned down here

in lower manhattan in different areas of little is lee. t in lower manhattan in different areas of little is lee.— areas of little is lee. i think it's a really _ areas of little is lee. i think it's a really important i areas of little is lee. i think it's a really important newl it's a really important new york film because in some ways it traces the important spots for, certainly in terms of the time, but america in the '1i0s in new york and you have staten island that has the opening wedding sequence. i was from staten island and i was brought up staten island and i was brought up with references to the godfather being filmed there. staten island is also a prominent location in terms of the history of organised crime and the sort of passage of italian—american settlements over time. italian-american settlements over time-— over time. they don't say if he's dead _ over time. they don't say if he's dead or _ over time. they don't say if he's dead or alive. - over time. they don't say if he's dead or alive. new- over time. they don't say if. he's dead or alive. new york over time. they don't say if i he's dead or alive. new york 's landmark _ he's dead or alive. new york 's landmark radio _ he's dead or alive. new york 's landmark radio city _ he's dead or alive. new york 's landmark radio city hall- he's dead or alive. new york 's landmark radio city hall is i landmark radio city hall is featured in the godfather. michael and k played respectively by al pacino and diane keaton are seen leaving the music hall and learning

that don corleone has been shot in little italy. in fact, diane keaton is one of very few women in any significant role in the godfather, it is a very male story of a patriarchal crime family. in fact, that movie has been accused of being misogynistic, even holding back the progress of women in the film industry. emma jones has been investigating. daughters, lovers, wives, _ been investigating. daughters, lovers, wives, mothers. i been investigating. daughters, lovers, wives, mothers. some| been investigating. daughters, i lovers, wives, mothers. some go without a first name, like mama corleone. in the ultra masculine world of the godfather what place do women have? :, , :, ., ~ have? you 'ust tell me to make ou have? you just tell me to make you dinner- _ have? you just tell me to make you dinner. apart _ have? you just tell me to make you dinner. apart from - have? you just tell me to make you dinner. apart from in i have? you just tell me to make you dinner. apart from in the i you dinner. apart from in the kitchen all — you dinner. apart from in the kitchen all the _ you dinner. apart from in the kitchen all the bedroom. i kitchen all the bedroom. watching it as a woman there is also _ watching it as a woman there is also the — watching it as a woman there is also the sense of, who other female — also the sense of, who other female characters? there are some — female characters? there are some but_ female characters? there are some but who are they and are they— some but who are they and are they really as fleshed out as they really as fleshed out as the male characters in the film? _ the male characters in the film? and the answer is no. the answer— film? and the answer is no. the answer is — film? and the answer is no. the

answer is no _ film? and the answer is no. the answer is no. is film? and the answer is no. the answer is no-— film? and the answer is no. the answer is no-_ answer is no. is it true? don't ask me about _ answer is no. is it true? don't ask me about my _ answer is no. is it true? don't ask me about my business. i answer is no. is it true? don't i ask me about my business. diane keaton played — ask me about my business. diane keaton played k. _ ask me about my business. diane keaton played k, the _ ask me about my business. diane keaton played k, the american i keaton played k, the american graduate — keaton played k, the american graduate who marries michael corleone. it was her breakthrough acting role. for all her thoughts as a character in the — all her thoughts as a character in the film _ all her thoughts as a character in the film is _ all her thoughts as a character in the film is more _ in the film is more progressive, - in the film is more progressive, she l in the film is more i progressive, she asks questions _ progressive, she asks questions.— progressive, she asks ruestions. ~ . ., progressive, she asks ruestions. . ., ,�* questions. what was that? isn't answered but no-one was i answered but no—one was hurt. she does— answered but no—one was hurt. she does challenge the world to some _ she does challenge the world to some extent _ she does challenge the world to some extent but _ she does challenge the world to some extent but you _ she does challenge the world to some extent but you see - she does challenge the world to some extent but you see the i some extent but you see the world — some extent but you see the world and _ some extent but you see the world and the _ some extent but you see the world and the mafia - some extent but you see the world and the mafia through| some extent but you see the i world and the mafia through her eyes, _ world and the mafia through her eyes, and — world and the mafia through her eyes, and beginning— world and the mafia through her eyes, and beginning we - world and the mafia through her eyes, and beginning we are i world and the mafia through her eyes, and beginning we are at i eyes, and beginning we are at the same _ eyes, and beginning we are at the same point _ eyes, and beginning we are at the same point of— eyes, and beginning we are at the same point of view- eyes, and beginning we are at the same point of view as i eyes, and beginning we are at| the same point of view as her, we are — the same point of view as her, we are the _ the same point of view as her, we are the outsider— the same point of view as her, we are the outsider curious i we are the outsider curious about— we are the outsider curious about this _ we are the outsider curious about this world _ we are the outsider curious about this world and - we are the outsider curious about this world and want i we are the outsider curious. about this world and want to know— about this world and want to know more _ about this world and want to know more about _ about this world and want to know more about it. - about this world and want to know more about it. my i about this world and want to know more about it. my father hel to know more about it. my father help to minnie's _ know more about it. my father help to minnie's career. i know more about it. my father help to minnie's career. he i help to minnie's career. he did? that _ help to minnie's career. he did? that is _ help to minnie's career. he did? that is one _ help to minnie's career. he did? that is one of- help to minnie's career. he did? that is one of the i help to minnie's career. he i did? that is one of the strong oints of did? that is one of the strong points of the _ did? that is one of the strong points of the film _ did? that is one of the strong points of the film but - did? that is one of the strong points of the film but it's i points of the film but it's unfortunate _ points of the film but it's unfortunate they - points of the film but it's unfortunate they could i points of the film but it's i unfortunate they could have done — unfortunate they could have done more _ unfortunate they could have done more with _ unfortunate they could have done more with the - unfortunate they could have i done more with the character. when — done more with the character. when will— done more with the character. when will you _ done more with the character. when will you be _ done more with the character. when will you be back? - done more with the character. when will you be back? i- done more with the character. when will you be back? i think she is often — when will you be back? i think she is often presented - when will you be back? i think she is often presented as i when will you be back? i think she is often presented as a i she is often presented as a lovesick. _ she is often presented as a lovesick, weeping, distressed women — lovesick, weeping, distressed women who isjust in love with

michaet — women who isjust in love with michael. all women who is 'ust in love with michael. : , , :, michael. all this time you allowed me _ michael. all this time you allowed me to _ michael. all this time you allowed me to call - michael. all this time you allowed me to call me i michael. all this time you | allowed me to call me and michael. all this time you i allowed me to call me and me. michael. all this time you - allowed me to call me and me. i allowed me to call me and me. i don't allowed me to call me and me. don't think she has to be a main character, if you are going to reboot the godfather thatis going to reboot the godfather that is what you do, that is what should happen. in that is what you do, that is what should happen. in the world outside _ what should happen. in the world outside the _ what should happen. in the | world outside the godfather what should happen. in the i world outside the godfather in 1972, there were waves of feminist protest seeking equality. a year later, roe v wade granted abortion rights to women in the us. times are changing. in the godfather, set in 1945, it is originally patriarchal system. in 1945, it is originally patriarchalsystem. i in 1945, it is originally patriarchal system. i hate you! john corleone�*s daughter connie is fleshed out as a character by the horrific picture of domestic abuse she suffers. michael corleone�*s sicilian first wife is filled topless on her wedding night. the actress was a teenager at the time. she is tepless. _ was a teenager at the time. she is tepless. he — was a teenager at the time. she is topless, he is _ was a teenager at the time. sue is topless, he is not. there was a teenager at the time. s13

is topless, he is not. there is no male nudity at all. and, yeah, it's like, previously in the film you have seen her basically being bathed over. she has very few lines, very little character. i think the actress herself described her role as, i met him, i married him, idied. role as, i met him, i married him, i died. that said. connie is the daughter of a don, she would, she has some power. and yet, would have experienced some power growing up, and yet is quite helpless.— is quite helpless. what's the matter? it — is quite helpless. what's the matter? it was _ is quite helpless. what's the matter? it was my _ is quite helpless. what's the matter? it was my fault! - is quite helpless. what's the l matter? it was my fault! she's another character _ matter? it was my fault! she's another character that - matter? it was my fault! she's another character that is - another character that is wanted in my view. the bill was hugely successful so a lot of studios would have looked at the film and bought fantastic, let's replicate that. and i think in the 19705 it was the age of the male anti hero. 1 age of the male anti hero. i

saw how you carry yourself, you are not— saw how you carry yourself, you are not happy person. it saw how you carry yourself, you are not happy person.— are not happy person. it was robert de — are not happy person. it was robert de niro _ are not happy person. it was robert de niro in _ are not happy person. it was robert de niro in taxi - are not happy person. it was| robert de niro in taxi driver, there were a lot of misogynistic men whose characters were explored. that's not to say that i don't think the godfather should exist at all, i think it is a great film but i think other films, i'm sure feminists at the time felt completely destroyed by the cinema, the popular cinema at the time. perhaps coppola's lands on italian—american women living in 19405 new york, the domestic world where they existed to please, may have been fairly accurate. at the 19405 was also an era of spirited heroines on screen and flashing these women out into fully dimensional characters was also an opportunity missed. this new york crime family epic has stood the test of time because of its strong story, performances and cinematography. it is brilliant cinemark. cinematography. it is brilliant cinemark— cinematography. it is brilliant cinemark. �* ., cinemark. there wasn't enough time, michael. _

cinemark. there wasn't enough time, michael. there _ cinemark. there wasn't enough time, michael. there wasn't . time, michael. there wasn't enouah time, michael. there wasn't enough time. _ time, michael. there wasn't enough time. we'll - time, michael. there wasn't enough time. we'll get - time, michael. there wasn't i enough time. we'll get there, pop — enough time. we'll get there, .o., . �* ii , ., , pop. we'll get there. 50 years after its launch, _ pop. we'll get there. 50 years after its launch, it's _ pop. we'll get there. 50 years after its launch, it's clear- after its launch, it's clear that in many ways the godfather has very much left its mark on popular culture, particularly in the way in which are betrayed. whether it be in the popular american crime drama tbc is the sopranos.— tbc is the sopranos. someday soon ou tbc is the sopranos. someday soon you will— tbc is the sopranos. someday soon you will have _ tbc is the sopranos. someday soon you will have family - tbc is the sopranos. someday soon you will have family of. soon you will have family of your own. soon you will have family of your own-— soon you will have family of our own. . ., a, your own. or in director martin scorsese's _ your own. or in director martin scorsese's celebrated - your own. or in director martin scorsese's celebrated film - your own. or in director martin scorsese's celebrated film at l scorsese's celebrated film at the goodfellas. 1 scorsese's celebrated film at the goodfellas.— scorsese's celebrated film at the goodfellas. i do think the godfather — the goodfellas. i do think the godfather change _ the goodfellas. i do think the godfather change the - the goodfellas. i do think the godfather change the way - the goodfellas. i do think the| godfather change the way the mafia was portrayed in films. after the godfather, gangsters were seen as almost noble. they were seen as almost noble. they were seen as quiet, calculating, certainly intense, but not the kind of cartoonish eye rolling bill as you would have seen before. so

eye rolling bill as you would have seen before.— have seen before. so that brinrs have seen before. so that brings a — have seen before. so that brings a special— have seen before. so that brings a special godfather anniversary edition of talking movies to a close. 0p have enjoyed the show. please remember you can reach us online at our website. and you can find us on twitter. from me, tom brooke and the rest of the talking movies team here in new york, it's goodbye as we leave you with a clip from what is perhaps one of the best movies ever made. at?! is perhaps one of the best movies ever made. # i have but one heart _ movies ever made. # i have but one heart to _ movies ever made. # i have but one heart to share _ movies ever made. # i have but one heart to share with - movies ever made. # i have but one heart to share with you. - movies ever made. # i have but one heart to share with you. i i one heart to share with you. i have but one dream, that i can please you. you are the one dream i pray comes true.

hello there. it was a very warm day on friday. temperatures touched 29 celsius across south east england. and this weekend, more of the same, a lot of sunshine around. it's going to stay dry away from the far north—west of scotland. and it's all down to this area of high pressure, which will be sitting out towards the west of the uk to start the weekend, and we have a run of northerly winds. slightly fresher air mass, so i don't think it'll be quite as hot today as what it was on friday. most of the cloud will affect the north and west of scotland, northern ireland. some spots of rain for north—western scotland. best of the sunshine in the north, across eastern scotland. we should see temperatures reach 21—23 degrees here, but for england and wales, dry and sunny. temperatures reaching the mid—205, so not quite as warm as friday. it's going to be dry, lots of sunshine at wimbledon for the women's final. notice that — 29 degrees.

for the men's final on sunday, it's going to be even hotter. now, through saturday night, much of the country will stay dry. still some splashes of rain across northern scotland. we'll have more cloud, more breeze here. elsewhere, further south, under clear skies, light winds, could see the odd mist or fog patch. and for most of us, temperatures will stick into low double figures. then, for sunday morning, we wake up to one or two mist and fog patches for england and wales. otherwise, it's going to be another dry and sunny day here. more sunshine as well for scotland and northern ireland, away from the very far north—west of scotland, where we'll see further cloud. so it'll be warmer in the north, the low to mid 205. but for england and wales, very warm indeed — high 205, perhaps 30 degrees across the south—east. and sea breezes will start to pick up as winds will be light. into monday, our area of high pressure shifts towards the eastern side of the country. that will allow winds to come up from the south, so it'll be even warmer and sunnier for england and wales. we start to see some cloud developing across scotland and northern ireland. this weather front will bring some rain into the northern and western isles later on, so turning a little

bit cooler here. as you head further south, though, we see those temperatures mid to high 205, up to 31 or 32 in the south—east. another very warm day on tuesday, but notice these weather fronts working their way in off the atlantic. barely anything on them as they work across england and wales, so there is no useful rainfall in sight for next week. some splashes across scotland and northern ireland. it will cool down a little bit as those fronts move in in england and wales, and then it's likely to warm up again by the end of the week.

welcome to bbc news. i'm rich preston. our top stories: a stand—off between the world's richest man and twitter as elon musk says he wants to pull out of his $40 billion deal to buy the company. president biden signs an executive order he says to help safeguard american women's access to abortion. what we're witnessing wasn't a constitutionaljudgement, it was an exercise in raw political power. tributes are paid to the former japanese prime minister shinzo abe after his assassination. the tech war in ukraine: we follow ukrainian forces trying to hold back russian troops with drones. just hearing some sound of aircraft. they have told us,

the ukrainian soldiers here, to take cover under the trees.