(Originally written April 23, 2015)
This will be a blog like no other in this series, because it is for a Best Picture winner that is a sequel to an earlier Best Picture winner (The Godfather, 1972). Coming just two years after the first film, Godfather fever was still raging across moviegoing America, and fortunately the film continued the high quality of its predecessor. Many even feel the second film is better, but everyone agrees that both films remain to this day the measuring stick for any movies about the Mafia. Paramount gave director Francis Ford Coppola complete control over the making of the film, but star Al Pacino nearly derailed the entire thing in preproduction because he was unsatisfied with the script. Coppola rewrote it overnight and sent Pacino a copy. As you can probably surmise, he liked the revised version. Most of the story in this sequel was written specifically for the movie, but some elements were adapted from Mario Puzo’s original novel. At 200 minutes, this is the fifth-longest Best Picture winner in history, so this blog means we’ll have half of the 10 longest Best Picture winners taken care of. Let’s dive in!
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The film opens as you read above. During the funeral march for Vito’s father, an ambush kills Paolo. 9-year-old Vito (Oreste Baldini) and his mother (Maria Carta) pay a visit to kingpin Ciccio (Giuseppe Sillato). Vito’s mother begs for no more harm to come to her family. Ciccio laughs, saying Vito will grow up and seek revenge many years from now, so she pulls out a knife and threatens to kill Ciccio, then tells Vito to run. Unfortunately, her eyes go off Ciccio’s thugs for just a second, which is long enough for her to be pried off Ciccio and shot dead. Vito does indeed run off. He escapes Italy altogether, hopping aboard an immigrant boat to New York City. Upon arriving, his name is written as Vito Corleone, as opposed to Vito Andolini FROM Corleone, Italy.
The film than travels ahead to 1958, showing us that we will have two narratives going back and forth in the movie. I hate that plot device but I’m pretty sure that back in 1974, this was something unusual in film, so I’ll roll with it here. It’s a party at the Corleone estate, specifically the first communion of Michael Corleone’s (Al Pacino) son Anthony (James Gounaris). Of course, since Michael is the Don, he’s spending a lot of time indoors meeting with people. Michael’s sister Connie (Talia Shire), now divorced, arrives with her current beau and says to mama Carmela (Morgana King) that she needs to see Michael but doesn’t want to have to wait. Carmela tells her no. Meanwhile, Nevada senator Pat Geary (G.D. Spradlin) is on a stage thanking Anthony for a donation in the name of the family to a charity. Geary mispronounces Anthony’s name in the process twice, then leaves the stage to meet with Michael, where we see his true colors. He hates Italians, he hates the Mafia, but considers them a necessary evil. Since Michael wants the license for a fourth Las Vegas casino on top of the three he already owns, Geary basically tries to extort the shit out of Michael for him to get it. Michael tells him he isn’t paying anything, not even the standard fee, so Geary scoffs and leaves, doing more phony gladhanding and baby-kissing in the next room.
Fredo (John Cazale) arrives and sees capo Frank Pentangeli (Michael V. Gazzo), who is also lamenting about having to wait to see Michael. Johnny Ola (Dominic Chianese) meets with Michael next. Ola is a right-hand man for Florida gangster Hyman Roth (Lee Strasberg) and he has come to express support for the Corleone regime on Roth’s behalf. Connie then gets to see Michael. She brings in her beau. Michael doesn’t like him a bit, and gets mad at Connie for remarrying and basically living like a junkie whore as she has lately, as she’s just come to Michael for money to run off and marry this new guy. He tells Connie to ditch the dud and live here with her kids. Finally, after dinner Frank meets with Michael. Frank has the Rosato Brothers, who are part of Roth’s brigade, trying to take over his area, and he wants Michael to have them killed. Michael refuses.
That night, Michael is in his bedroom. His wife Kay (Diane Keaton) is already in bed. As they converse, Kay notices the drapes are open and asks why. Michael realizes they’re open and a second later hits the ground just before a barrage of gunfire erupts through the windows into the bedroom. No one is hurt, and immediately the family runs around outside to find the gunmen. They are found later both shot dead, much to Michael’s annoyance as he now can’t interrogate them. Michael puts consigliere Tom Hagen (Robert Duvall) in charge while he’s away, as he’s about to travel to find out who put out the hit on him.
We return back in time to 1917. Vito is now an adult (Robert DeNiro) living with his wife and his first son, Sonny. He works in a grocery store run by a close friend’s father, but he loses the job when a mafia boss named Fanucci (Gastone Moschin) makes the store owner give a job to his nephew. Fanucci extorts businesses for money, including this store, and this would be a “favor”. Vito isn’t upset at the store owner, but the seed is planted in the back of his mind regarding Fanucci. We also meet Vito’s friend Clemenza.
Returning to 1958, Michael travels to Miami to meet with Roth, telling him that he believes Frank was behind the assassination attempt. Roth accepts this. Fredo gets a call from Johnny, saying that Frank will meet with the Rosatos and be taken out. Fredo replies saying he wants no involvement. Michael then goes to New York and meets with Frank, where he says ROTH was behind it, and he wants Frank to meet with the Rosatos so they can all plan their revenge. This turns out to have been a setup, as Frank is ambushed and told they act on Michael’s orders. A policeman enters the establishment where this is taking place. Frank has been dragged and hidden in another room. The policeman wonders why all the lights are out, then he hears a noise from the next room. This turns into a firefight inside and outside involving multiple thugs and policemen. Frank remains in the room seemingly left for dead.
Kay tries to leave the estate for some shopping, but she’s barred from doing so. Tom tells her it’s for her own safety. Senator Geary wakes up in a brothel run by Fredo and finds a very dead hooker in bed with him. Tom happens to arrive there and Geary freaks out since he has no recollection of anything. Tom tells him not to worry, they’ll take care of it. Tom offers “friendship”, inferring that casino license. Geary accepts.
Michael is now in Havana, Cuba to celebrate Roth’s birthday. Roth makes an announcement that when he retires or dies, Michael will take over his Havana operations. Michael is unsure about Havana because he thinks the rebels that are currently running roughshod throughout the country could unseat President Batista. Roth asks Michael about $2M that was supposed to arrive there, which apparently would have been the “gift” for the Havana operations. Fredo brings the money the next day. Michael has changed his tune regarding the assassination, and he tells Fredo that Roth was actually who called for it, and tonight after President Batista’s New Years’ Eve party he expects Roth to try again. This is because Michael never actually set up the attempt on Frank’s life recently. Michael even asks Roth point blank later who put the hit out on Frank, because he didn’t. Roth doesn’t really answer either way but exclaims, “This is the business we’ve chosen. I didn’t ask who gave the order because it had nothing to do with business!”
Party time again, and Michael introduces Fredo to Johnny Ola. Fredo says they had never met. Later though, Fredo mentions Johnny in conversation that proves he does indeed know him already. Michael overhears this and motions to his bodyguard, who understands the message, goes to Johnny’s room and kills him. The bodyguard plans to do the same to Roth but Roth has been taken to a hospital due to declining health. The bodyguard heads there and sneaks into Roth’s room while the nurses are toasting in the new year. Apparently the bodyguard was followed because a group of policemen storm into the hospital room and open the door just before Roth is killed, and they shoot the bodyguard dead. Back at the party, Michael embraces Fredo and tells him that he now knows it was he–Fredo–who put out the hit on him. He says they’ll leave on a plane to Miami in an hour. Rebels then take over the city and President Batista resigns. In the chaos, Fredo flees as Michael tries to have him leave the island with him safely. Michael arrives home and tells Tom of the events. Tom isn’t sure of Fredo’s whereabouts. Michael wants him found so he can let him know he knows Roth put him up to the hit.
[OK, I’m going to jump in for a moment. Are you confused about some of this? Does it seem like I’m leaving a bunch of stuff out, and events are just happening BANG! BANG! BANG! with little buildup to explain why they are happening? That’s not me skipping over details, that’s just how it’s all playing out on screen. There is a LOT of stuff we’re apparently supposed to fill the blanks in on as events unfold, and figure out for ourselves. How did Geary get in the brothel? How is Michael coming to conclusions and opinions so quickly, changing his mind throughout? Why is Cuba even a part of all this? Trust me, I’m trying to make it make sense, but it’s not easy. And yes, this isn’t boding well for my overall opinion of the film.]
1920. Vito and Carmela now have three sons–Sonny, Fredo and Michael. He is in business with Clemenza and Tessio. This business apparently includes “obtaining” dresses. One day while driving, Fanucci shows up and jumps in the car, saying that he’s insulted Vito doesn’t have him getting a cut of the profits on “his” turf. Fanucci demands $600 or his family may suffer as a result. Vito plays it up like this is no problem, and he’ll talk to his partners. Vito tells them of what happened. Clemenza is fine with paying $200 of his cut because he’s scared of Fanucci. Vito doesn’t think they should have to pay him at all, but he has a plan. He’ll bring $50 from each of them and make Fanucci an offer he can’t refuse.
Vito meets Fanucci the next day with $100. He says right now times are tough and they don’t have it, but he’ll take care of him. Fanucci admires Vito’s spunk and says he’ll find him some work. Fanucci leaves. Vito follows him, traversing along rooftops following him to his apartment, where in the foyer, Vito shoots and kills Fanucci in his doorway. This makes Vito feared and respected in the city. He’s “mafia” too, but he isn’t extorting like Fanucci, so the city embraces him. One landlord who didn’t know Vito turned down a Vito offer to let a widow and her dog stay in an apartment, but the landlord asked around about Vito (as Vito recommended he should), and the landlord changed his tune, even offering a lower rent. Vito, Clemenza and Tessio admire their new sign outside their store.
Back to 1959. A Senate committee is investigating Michael’s “business” and he is brought to the stand. [Wait…HUH? Where did this come from? See what I mean about stuff happening here out of nowhere?] Senator Geary lays on the charm thick, ultimately excusing himself from the proceedings. Michael reads a statement of defense, where he says he’s cooperated fully, answered honestly without pleading the Fifth Amendment, and he ultimately challenges the committee to produce a witness that can prove his involvement with any of the accusations. The committee will reconvene on Monday…and they indeed plan on producing a witness, because it turns out Frank survived the attempt on his life and is now living within the Witness Protection Program in a guarded residence with FBI agents. Michael and Tom discover that Roth set that up, and has convinced Frank that Michael put out the hit on him.
Fredo meets with Michael. Where, I don’t know, but all of a sudden he’s back and Michael’s with him. Fredo admits that he was upset about being passed over to head the family, and he helped Roth thinking that there would be something in it for him. He swears he never expected an attempt on Michael’s life, though. Fredo also tells Michael that the Senate Committee’s chief counsel is on Roth’s payroll. Michael tells Fredo that he’s nothing to him anymore and he doesn’t want to see him again. Michael later tells Al Neri (Richard Bright) that he doesn’t want anything to happen to Fredo as long as their mother is still alive.
It’s Monday. Frank is walked into the committee hearing. Michael walks in a moment later with another gentleman who sees Frank and gets all bug-eyed. The senators begin to question Frank, and as he starts answering the basic questions of his name and all that, he looks and sees Michael with the other man next to him. The next question is whether or not Frank can positively finger Michael to any crimes. Frank replies that he knows of no Godfather. The senators freak out, saying they have sworn statements saying otherwise, but Frank continues to play dumb, saying the FBI came to him with the offer and he just figured, why not? The senators ask about the man next to Michael. Frank says it’s his brother from Sicily. The senators want him to come forward but Frank disallows it since he doesn’t speak or understand English. The meeting is adjourned in total chaos.
Back in the hotel, Kay tells Michael she’s leaving with the kids. Michael says they’re all leaving tomorrow, but Kay says she’s leaving now, and for good, having had enough of this lifestyle. She asks about Frank and Michael gives his usual denials, saying Frank’s brother apparently just happened to fly in, and he’s already on a plane back to Italy right now. Kay knows it’s horseshit and this erupts into an argument. Michael tells her he’ll change, and tomorrow they’ll all leave as planned. Kay admits that a recent miscarriage wasn’t actually that, but an abortion, as she doesn’t want to bring another son into this life. “It was your son and I had him killed!” Michael slaps her and says she will not take the kids.
Another flashback. Vito and his family visit Sicily for the first time since he fled at age 9. He’s brought to Ciccio and introduced as the man importing their olive oil to America. Ciccio asks about his heritage, and Vito eventually says his father’s real name, then slices into Ciccio’s stomach with a large knife. Ciccio’s premonition indeed was correct.
Back to 1959, or whatever it is. Carmela Corleone dies. At the funeral, Fredo asks Tom if he can see Michael. Tom says no. Connie then asks the same, and she’s given the OK. When seeing Michael, Connie says she’s cleaned up her act (which she has) and she did all the stuff she did after getting divorced because she hated Michael. But he never gave up on her, and she forgives him, and she hopes he can do the same regarding Fredo. Michael decides to go to Fredo, and they embrace…but while doing so, Michael gives “the look” to Al Neri, and Neri knows what “the look” means.
Michael and Tom discuss matters. Roth is dying and he’s tried to gain asylum in Israel and other countries to live out his final months to no avail. Michael wants to finish off Roth. Tom doesn’t think he should. Michael starts getting snippy to Tom about this and other things, such as not mentioning job offers Tom has gotten from elsewhere. Tom didn’t mention that or any of the others because he’s not leaving, so what’s the sense of telling him about all the offers he gets? Tom visits Frank and offers protection for his family. Connie has snuck Kay into the estate to visit her kids, but she stays too long and Michael arrives home as Kay is still lingering outside with the door open talking to the kids. Michael says nothing as he calmly and coldly shuts the door on Kay. Roth arrives in Miami and is shot. Frank is found dead in his bathtub. Fredo, while fishing with Al Neri, is shot. Michael has taken care of all loose ends just as Vito had done years ago with the heads of the Five Families. He sits in the estate and later at the lake with his thoughts, alone…
…and we have one final flashback to December 7, 1941. Pearl Harbor happened earlier in the day and the Corleone family discuss it as they prepare for Vito’s 50th birthday party. Sonny (James Caan) introduces Connie to Carlo (Gianni Russo). Michael mentions he’s quit college and joined the military. Sonny is furious about this. Tom can’t believe the news. Only Fredo supports Michael’s move. Vito arrives home and the family all go to meet him and surprise him. All but Michael, who remains at the table with his thoughts, alone.
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One of the thugs who attacks Frank in the assassination attempt is played by Danny Aiello. He actually didn’t have a line but ad-libbed one, and Coppola loved it so he had him say it in retakes…..The scene where Vito is talking in the street to the landlord wound up interrupted by an overzealous extra who interjected by saying hello to Vito instead of just walking by him. Coppola was irate but DeNiro thought it added to the scene because it showed the respect that the neighborhood had for Vito, which is what Vito wound up saying later to the landlord in that scene. Coppola agreed and the extra was rewarded with a speaking-role scale pay…..The now-famous line “Keep your friends close, but your enemies closer” came from this film…..Most of DeNiro’s dialogue is actually in Italian, not English…..Marlon Brando was scheduled to be on set for an appearance in the end scene, but he no-showed so the scene was rewritten on the spot…..The ship that transported young Vito to America was the ship Moshulu. This ship is now docked in Penn’s Landing, Pennsylvania and has been refurbished into a four-star restaurant…..Early test screenings had much more of the back-and-forth time-jumping, which confused audiences. Coppola and others reworked the script to make it flow smoother into the finished product we see here…..On- and off-screen body count: 21. This is three more than the first film (which includes a horse)…..Roger Corman is one of the senators in the committee hearing scenes…..Coppola initially didn’t want to direct this sequel. Producer Robert Evans asked who should, and Coppola recommended Martin Scorsese. Evans said no…..Keaton’s character was originally scripted to indeed miscarry, but Talia Shire thought the abortion angle would be a way for the character to truly hurt Michael. Coppola loved the idea and went with it, and as a reward wrote in an additional Connie scene elsewhere in the film…..Some ideas that were ultimately discarded from the final script of this film found their way into 1990’s The Godfather Part III…..Nino Rota was nominated and later disqualified for his score in the first film due to some elements having been used previously. Those same elements were found briefly in this film, but he was nominated again here, and not disqualified, and naturally, he won the damn thing to boot.
This was a trilogy of films, and all three of the films were nominated for Best Picture. That has only happened twice in history, as the Lord of the Rings trilogy achieved the same feat in 2001-2003. The first and second Godfather films won the top prize; LOTR saw only the third film win Best Picture. Those are the only two film sequels in history to win Best Picture. In total, The Godfather Part II won 6 Oscars out of 11 nominations within 9 categories. As with the first film, 3 different actors all were nominated in the Best Supporting Actor category, but this time a rare event occurred as vote-splitting did not see another actor from another film win. DeNiro won the Oscar over his co-stars Gazzo and Strasberg. Other losses came in the categories of Best Lead Actor (Pacino), Supporting Actress (Shire) and Costume Design (Theadora Van Runkle). Other wins came for Best Art/Set Decoration (Dean Tavoularis, Angelo P. Graham, George R. Nelson), Best Original Dramatic Score (Nino Rota, Carmine Coppola), Best Adapted Screenplay (Coppola and Puzo…since the film was a mix of both original and adapted, the AMPAS ruled it should compete in this category but allow for both men to qualify), Best Director (Coppola) and Best Picture (Coppola was a producer too, so he completed the rare 3-Oscars-in-1-night feat). That top prize was won over Chinatown, The Conversation, Lenny and The Towering Inferno, and I gotta say, when the weakest of any list of five films is Lenny, you’re talking about a seriously high-quality crop of films.
Many like this sequel better than the first film. I did not. I think a lot of holes were there that I had to fill in and figure out for myself. The time-jumping didn’t bother me like it does in more modern films, but it certainly didn’t help matters any. I had some issues with this movie for sure, but with all that said, it’s still a damn good flick. Not a single one of the 200 minutes dragged. It held my interest. Things were happening continuously. Great performances and an interesting and believable story. You should certainly see the first Godfather before this one, but even in doing that, be sure to stay on your toes for The Godfather Part II. There’s a lot to digest, and not all of it is obvious.
[ADDENDUM BELOW]
Omitted a couple of photos from the original blog post.
SEE THE ORIGINAL TRAILER FOR THE GODFATHER PART II HERE
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