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The Godfather: Part II (1974)

A review by Damian Cannon.
Copyright © Movie Reviews UK 1997
Wrapping itself firmly around The Godfather, Coppola's epic saga continues by filling in the blanks of Don Vito's rise to power and the Corleone family history under Michael. Continually cutting between these two separate threads, The Godfather: Part II opens in Sicily at the turn of the century. The local Don, who controls the small town of Corleone, has had Vito's father murdered over a disagreement. Unfortunately this means that little Vito must also die because the Don knows, somewhat presciently, that one day this boy will grow strong and thirst for revenge. However, he is denied this closure and Vito is transported to New York as an orphan. Here Vito Corleone (Robert De Niro) starts a family and works in a grocery store, with thoughts of founding America's greatest crime syndicate far from his mind.

On the opposite side of Vito's reign, Michael Corleone (Al Pacino) is attending his son's first communion. This direct echo of The Godfather is followed by Michael dealing with his associates, doling out favours to those who in need. There are many guests at his Lake Tahoe home but one, Frankie Pentangeli (Michael V. Gazzo), puts Don Corleone in an awkward spot by demanding a hit request which Michael is unable to fulfil. To do so would interfere with some delicate business deals and, ultimately, with Michael's long-standing desire to turn the Corleone family legitimate (motivated by Kay (Diane Keaton)). Burdened further by Connie's (Talia Shire) pernicious attempts to hurt him and Fredo's (John Cazale) instability, Michael feels none of the family security associated with his father.

These difficulties come to a murderous head when an assassination attempt is made on Michael, even as he's standing at his bedroom window. There is betrayal right at the heart of the Corleone family, a poison which Michael is determined to purge. It is rather ironic though that at the very moment when the business interests are being consolidated, the clan falls apart and Michael must hand control over to Tom Hagen (Robert Duvall). The trail of deceit most obviously leads to Hyman Roth (Lee Strasberg), a powerful and dangerous man. They are also partners in a Cuban expansion operation though, so perhaps the hired killers were sent by Pentangeli, bitter at being turned down. Michael needs to use all of his cunning and knowledge in this mortal task but, even then, he only really learns by chance, during his Cuban escapade.

The Godfather: Part II is a study in contrasts, an amplification and an explanation of everything that precedes it. The rise of Vito Corleone from humble beginnings, through his determination to succeed and provide for his family, is illustrated exhaustively. It is here that the elements which made Vito such a leader and, in his own way, a good man were forged. The shame is that these traits not passed onto Michael in their entirety but spread between Vito's offspring; Sonny, Fredo, Michael and Connie. Thus the fall of Michael, as he tries to emulate his father, is almost preordained, since he is not provided with the necessary tools from the outset. The golden age of The Godfather has passed, to be replaced by an era of drugs and senate hearings.

While the juggling of these two plot-lines is quite well done, it is nevertheless easy to become confused and overwhelmed by the wealth of information. So much ground is covered that frequently crucial plot details are passed in a single phrase, which you miss at the peril of incomprehension. Visual signposts are provided though, with Vito's youth notable for its evocation of the period and softened tone. The city streets bustle with activity, most of it peripheral to the story and all essential - this is money well spent. The real interest of this section of the movie lies deeper though, in a series of coincidences which led to The Godfather. Vito was firstly forced into emigration by the Mafia, then pushed into low-level crime by the Mafia, at which point he discovered his talent and, eventually, took over the Mafia. With completion occurring in Sicily, this is a marvellously circular tale.

The Las Vegas years are more striking for their bleakness, distrust and lies. Michael is desperate to hold his family together, knowing that this is essential for happiness and despising Connie for abandoning her children. The problem is that he lacks understanding, a comprehension of other's emotional position. Without this perspective he is lost, buried under a mountain of suspicion, and resigned to withdrawing ever deeper into himself. This unbearably painful result can be glimpsed right from the start of The Godfather: Part II, yet it's not until the end that the absolute loss is felt.

Shading in the characters established in The Godfather, the level of acting in this sequel is at least equivalent to that in its predecessor. The twin leads of Pacino and De Niro are outstanding and perfectly tuned, while the remainder of the cast are merely excellent (those reprising their roles add a useful thread of continuity). De Niro is amazingly convincing as the youthful Brando, right down to his rasping voice, while Pacino wallows in a sea of pain, always fighting against fragmentation. However, the guiding presence of Brando is sorely missed. His aura seeps from the first movie, indicating just how immense that performance was. Still, Coppola keeps a reasonably firm hand on the tiller with a script which could so easily have devolved into chaos and almost reaches the giddy heights of his first attempt.

NB This was my first viewing of The Godfather: Part II and I'm certain that my depth of comprehension will increase on subsequent viewings. This is just the sort of film where such re-appraisal can occur, which marks it as special immediately.

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