There have been just a few issues I spotted after watching The Godfather after which The Godfather Half II for the primary time. One was that even with so many popular culture references (from making orders one cannot refuse to horse heads present in beds), there’s nonetheless one thing unpredictable and energizing in regards to the first time you watch Francis Ford Coppola‘s career-defining movies. I wasn’t stunned by the Fredo (John Cazale) betrayal nor was I shocked by Michael’s (Al Pacino) sluggish ethical deterioration. These are issues that I knew would occur even when i attempted to keep away from spoilers merely because of the nature of my job. Nevertheless, what did shock me by the point I completed The Godfather Half II was not solely how immensely influential it was on narrative storytelling but additionally the way it held up surprisingly nicely half a century later.

I do know it is barely foolish for me to behave stunned by this — good film is sweet, what a plot twist. However the actuality is a number of movie classics merely do not maintain up as nicely anymore. Any movie junkie will take pleasure in them, however should you had been to sit down a 20-year-old down, I am certain nearly all of them could be reaching for his or her cellphone twenty minutes in. Whereas there are nonetheless some dated elements to Half II and there are pacing points to Michael’s story within the latter half of the movie, there is a timeless high quality to The Godfather Half II that merely cannot be matched. Maybe it is as a result of it is so clear that each mob film appears to have The Godfather in its DNA. Nevertheless, what units the movie aside, particularly Half II, is that Coppola and Mario Puzo‘s story goes to a spot that films are nonetheless afraid to go to right now.

Films Are Afraid To Write a Character Like Michael Corleone

After spending a lifetime listening to that The Godfather Half II is a kind of uncommon film sequels that surpasses its predecessor, it struck me that though the story is darker and extra advanced, Half II is a way more tough film to observe. Certainly, Half II is extra advanced narratively and thematically, however should you requested me to decide on which film I wish to watch once more for enjoyable, it might be the previous. Why? Nicely, we spend the lion’s share of Half II with Michael Corleone, an irredeemable protagonist that I felt myself rooting towards by the top of the movie. However that is not a foul factor. Whereas most films lately will finally redeem any ethical ambiguity in a personality, particularly within the case of a protagonist, The Godfather Half II by no means shies away from exhibiting simply how deep Michael’s gotten caught within the internet his father constructed. At no level was I underneath any delusions in regards to the route Michael was heading. Generally, I reveled in how crafty he was, and generally, I cringed at how chilly and calculated he might be, however there was by no means a second once I suspected he would regain the soul we had been watching him lose. And that is what made it so implausible. The movie successfully follows a villain’s story, not a hero’s, and even right now, filmmakers wrestle with strolling the road in the case of this character research.

Coppola is not afraid to point out us simply how nasty Michael will be. He might need been inexperienced in The Godfather and nonetheless comparatively pure of coronary heart, however by Half II, this man is as unhealthy as they arrive. He trusts nobody, he seemingly loves nobody, and he leaves behind a path of our bodies that embrace not solely his enemies however his household and pals. It struck me that of all of the storytelling classes folks have taken from The Godfather, nobody appears to have the ability to imitate Michael’s arc completely. Those that attempt to find yourself both demonizing the character or excusing them, however Coppola walks the very fantastic line between permitting us to know Michael’s plight whereas additionally giving us very reasonable causes to criticize him. He isn’t an excellent man, however we all know that there was as soon as a potential for that good man to exist. It is that potential that retains us hoping that possibly, simply possibly, he’ll spare Fredo. Possibly he’ll let Kay (Diane Keaton) do what’s finest for the youngsters. Possibly he’ll really belief Tom (Robert Duvall) moderately than query him. However Michael reminds us on the bitter finish that no matter’s left of an excellent conscience and his soul is now fully rotted away — we watched its systematic demise.

Al Pacino Is No Marlon Brando, and Neither Is Robert DeNiro

There’s nothing I can say about Al Pacino’s efficiency as Michael that hasn’t been mentioned already. All I can do is reward that brooding depth and quiet menace that Pacino exudes; he’s viciously intimidating in each scene, a darkish cloud hanging over his head as he tries to smoke out the traitor that just about received him killed. Whereas Marlon Brando‘s Vito was formidable, there was a pure heat to him and the Aristocracy that advised you that Vito had a code. There’s a ethical spine there that has fully disappeared from Michael. Nevertheless, what additionally turns into obvious is that within the absence of Brando, there wasn’t actually anybody who may match Pacino’s vitality on display as a scene accomplice. Michael feels so locked up and personal that it by no means seems like anybody is worthy of breaking by way of his partitions aside from his father, particularly towards the top of the movie.

It is a disgrace Brando by no means returned for the flashback scene on the finish of the film as a result of he stands out as a prime performer within the sequence, and seeing Brando as soon as once more in a scene with Pacino may have accomplished a number of good for bridging the hole between the 2 generations which might be depicted on this film. As it’s, the film just isn’t refined in the way it parallels a younger Vito’s (Robert De Niro) rise by way of the ranks of the Cosa Nostra within the early 1910s to Michael’s downfall throughout the Corleone crime household. And, though it is not refined, it is nonetheless efficient. Watching Vito confidently take management and construct the empire from the bottom up whereas seeing Michael attempt to maintain the items of his household legacy collectively makes for an efficient comparability.

It is inconceivable to step into the footwear of Brando’s larger-than-life efficiency as Vito, however De Niro’s model of the character feels rather a lot nearer to Michael than The Godfather we meet within the first film. It really works to the story’s profit, as a result of though Michael and a younger Vito visually appear comparable and are across the similar age, their paths diverge at so many factors, the character acts extra as a foil to Michael than a secondary protagonist. Whereas Vito faces the challenges of immigrating to America with out two pennies to rub collectively, compelled to adapt to a brand new surroundings the place he has completely nobody and does not communicate the language, Michael nonetheless faces discrimination as an Italian-American regardless of his assimilation into American tradition. It is an attention-grabbing have a look at the generational challenges a household faces, particularly an immigrant household throughout a number of generations. The Godfather Half II is pure magic when these two Corleone males and their storylines slot completely into place with one another.

‘The Godfather Half II’s Deadly Flaw Lies in Making an attempt To Do Too A lot

On display, Vito’s backstory was extra attention-grabbing than Michael’s tango with Hyman Roth (Lee Strasberg) and Frank Pentangeli (Michael V. Gazzo). Not solely is Vito’s narrative arc stronger, nevertheless it’s far much less chaotic. I discovered myself desperate to return again to the previous anytime we lower to the current. Sure, it is the less complicated of the 2 tales however, caught within the mire of conspiracy, Michael’s story can really feel totally disorienting.

It is clear that Coppola was balancing a number of plates with this movie. Not solely did it should be a narrative about Vito and his immigrant expertise, nevertheless it additionally needed to set up Vito’s origins and parallel that to Michael’s current-day struggles. Michael additionally wanted to proceed the violent storyline of the mob whereas additionally taking part in into his ethical decay; it needed to construct a home of playing cards round Michael’s assassination try and obfuscate who the true traitor was. The film additionally needed to juggle Michael as a father and a husband, Michael as a brother, and Michael because the Godfather. There’s rather a lot taking place, and it simply does not really feel like Coppola had sufficient time to inform the story the best way it ought to have been advised regardless of that three-hour runtime.

Far be it for me to inform Coppola what to do, however the storyline with Roth and Pentangeli, the stint in Cuba, and the Senate committee all really feel like lifeless weight. What’s attention-grabbing about Michael is his relationship with these closest to him, not with characters we barely know who want exposition to introduce them. Connie (Talia Shire), Fredo, and Tom all have higher story potential with Michael, who’s unnecessarily shipped off on his personal once more after the try on his life. Solely, as an alternative of a romantic and idyllic time in Italy, he is caught in Cuba proper earlier than Batista’s resignation and Fidel Castro’s regime. As attention-grabbing as it’s to see Michael butt up towards a major time in historical past and listen to his commentary on the rebels in Havana, the time ought to have been spent specializing in his relationship along with his siblings.

In the meantime, Fredo’s plight is simply ever actually hinted at. We do not find out about his relationship along with his siblings, however we are able to solely surmise from The Godfather that few folks take him critically, and he is successfully been skipped within the line of succession. Beginning order apart, he is received large Connor Roy vitality. Nevertheless, contemplating Fredo’s very important position on this movie, he feels woefully underdeveloped regardless of his significance. The identical goes for Keaton’s Kay, Connie, and Tom. The narrative coronary heart and weight lies with the Corleones, not the Cosa Nostra.

Regardless of All That, ‘The Godfather Half II’ Is Nonetheless a Masterpiece

Regardless of a wrestle with pacing and deal with pointless corners of the story, it isn’t arduous to know why The Godfather Half II is as beloved as it’s. It is epic in all meanings of the phrase. It spans generations, it is tragic, it is jam-packed with all the pieces from household drama to authorized drama. Gordon Willis‘ masterful work with a digicam makes each shot look luxurious, saturated with darkish hues and dimensional shadows. It is like taking a look at a reside Caravaggio oil portray, particularly within the moments when Michael is on his personal, swaddled in heat lighting, staring off into the void and considering his life.

The movie additionally wouldn’t be full with out Nino Rota‘s compositions, that are each iconic and may immediately throw you into the depth of feeling {that a} character is experiencing in the mean time. The lilting introduction of the “Love Theme” that kicks right into a grand sweeping melody is so intricately linked to the movie that it might be inconceivable to think about the film with out it. In the end, The Godfather Half II is a masterclass in telling the story of two males. Turning the underdog and hero of the earlier movie into the villain of this one is rattling close to inconceivable to drag off whereas nonetheless telling a balanced story that does not really feel outlandish. This movie accomplishes that, and it is arduous to suppose that anybody can carry out the identical balancing act that Coppola has managed right here ever once more.

The Godfather Half II is out there to stream on Paramount+ within the U.S.

Watch on Paramount+