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I admire the way Coppola and his co-writer Mario Puzo require us to think along with Michael as he handles delicate decisions involving Hyman Roth (Strasberg), the boss of Miami Fredo (Cazale), his older brother, and the shooting of Sonny ( James Caan). Simply as a story, the Michael scenes in “The Godfather: Part II” engage our emotions. Gazzo and others are well-cast, well-used, gifted and correct for their roles. We can name the characters in a lot of films (Harry Lime, Scarlett O’Hara, Travis Bickle, Charles Foster Kane) but from how many films do we remember the names of six or more characters? Brando, Pacino, De Niro, Duvall, Cazale, Caan, Diane Keaton, Lee Strasberg, Talia Shire, Michael V. They are grippingly written, directed with confidence and artistry, photographed by Gordon Willis (“The Master of Darkness”) in rich, warm, tones. We agree people should not kill one another, but that doesn’t explain why these films are seen again and again, entering a small worldwide canon of films just about everyone seems to have seen. Revenge must be obtained.Ĭoppola is at the top of his form in both films, and if I disapprove of the morality of the central characters, well, so do we all. There is even a parallel between the deaths of two elderly dons. What we have are two compelling narratives, two superb lead performances and lasting images. I would have appreciated separate films about young Vito and the evolution of Michael.
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But I am not sure the flashbacks strengthen the film. As Michael changes, we see why he feels that he must.
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To be sure, the life of young Vito helps to explain the forming of the adult Don Corleone, and to establish in the film the Sicilian code of omerta. Here the murder becomes another rung on Vito’s ladder to success.
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It is a built-in reality that we tend to identify with a film’s POV. Such events as Vito’s murder of the minor-league New York godfather have their barbarism somewhat softened as Coppola adopts Vito’s point of view and follows him as he climbs rooftops to ambush the man and successfully escapes. No false romanticism conceals the necessity of using murder to do business. These scenes, taking place in Sicily and old New York, follow the conventional pattern of a young man on the rise and show the Mafia code being burned into the Corleone blood. The devolution of Michael Corleone is counterpointed by flashbacks to the youth and young manhood of his father, Vito ( Robert De Niro). Consider how deeply we are moved by certain operatic arias that are utter nonsense. But the score is sad, and music can often evoke emotion more surely and subtly than story. If Rota’s score had been energetic and pounding, we might see him as more closely paralleling Tony Montana in a better film, Brian DePalma’s “ Scarface” (1983). In attempting to fill the shoes of his father, Michael has lost sight of those values that made Don Corleone better than he had to be and has become a new godfather every bit as evil as he has to be. If the score evokes pity, it is Michael’s self-pity. In “Part II” (1974), we see him lose his remaining shreds of morality and become an empty shell, insecure and merciless. Why should we regret the passing of a regime built on murder, extortion, bribery, theft and the ruthless will of frightened men? Observe how powerfully Nino Rota’s music sways our feelings for the brutal events onscreen.Īt the end of Francis Ford Coppola’s masterwork “ The Godfather” (1972), we have seen Michael Corleone ( Al Pacino) change from a young man who wanted to stand apart from his family to one who did not hesitate to take up the reigns of control. Nostalgic, mournful, evoking lost eras, it stirs emotions we shouldn’t really feel for this story, and wouldn’t, if the score were more conventional for a crime movie. The musical score plays an even greater role in “The Godfather: Part II” than it did in the original film.