I don't want his mother to see him this way

I’m a The Godfather nut so, of course, thought immediately of the toll booth scene where Sonny gets killed as a great example of filmmaking at its finest. Coppola’s title for this scene is “I don’t want his mother to see him this way.”
In this scene Sonny Corleone gets a call from his distraught sister who tells him her husband beat her up. Sonny, unable to contain his anger, gets in his car to drive to her home. The scene then shifts to an establishing shot where the camera tracks the car’s approach to a set of tollbooths. The camera is stationary, set up a little ahead of the tollbooth to the right. As the camera tracks the car it pans over a billboard that depicts a woman on a telephone saying, “Don’t worry, Mom,” one of the many brilliant details that makes this movie so rich. As Sonny approaches the other tollbooth a car pulls in front of him, goes through the toll and stops. The scene is framed so the viewer sees Sonny’s car and the tollbooth but can not see the second tollbooth. There is no music or sound to tip the viewer off to what is going to happen, the only sound is the tollbooth operators radio, which is broadcasting a horse race. Coppola does not tip the viewer off by setting a mood either; the scene takes place in the middle of a sunny day. At this point of the shot, we are simply observers of Sonny.
When Sonny pulls up to the toll, the camera cuts to inside the car and puts the viewer sitting beside Sonny, on the passenger side. Coppola uses the point-of-view shot, once Sonny pulls up to the toll, so the viewer experiences exactly what Sonny is experiencing. The viewer sits beside Sonny as he pays the toll operator, looks forward, and gets impatient with the car stopped in front of him. It is at this point in the scene that the camera starts to move quickly. The camera is in the car with Sonny as he sees the car in front of him back into him, we then see the toll operator close the door and duck. The viewer is sitting beside Sonny and watch a look of concern come over his face. All of this is done with close up shots so we can feel Sonny realize what is going on. The camera, still sitting in the passenger seat, then looks right to the other tollbooth and the viewer, with Sonny, watches mob guys rise up from the floor of the other booth with machine guns in hand. The camera looks forward, through the windshield to see mob guys get out of the other car with machine guns. The camera, still inside the car, in the passenger seat, puts the viewer with Sonny as the first shots break the windshield shatter glass. Coppola has ambushed Sonny and the viewer! The camera then shifts back and forth from Sonny getting hit and stumbling out of the car, to a close up of a machine gun, to Sonny, to mobsters shooting and kicking Sonny’s dead body, to a shot of the shot up tollbooth. Then, as the scene ends, the camera then rests where it started, in front of the second toll. The camera frames the car, Sonny’s dead body lying next to it, and the Corleone car that came after Sonny approaching. The viewer starts and ends the scene as an observer.
Coppola uses several techniques that make this scene so fabulous:
 He doesn’t us music or mood to tell us what’s coming. By doing this, he puts us in Sonny’s shoes.
 As Sonny begins to panic, the camera jumps around and creates panic in the viewer.
 By putting the camera in the car, Coppola puts the viewer in the car with Sonny.
 The viewer begins the scene as an observer, is then put right in the passenger seat next to Sonny, and then ends the scene as an observer.

Coppola’s use of extreme long shot and point of view help him tell this epic story of family and power.