Part I or Part II?
I went into an unplanned mob overload lately starting with rewatching The Sopranos. All of the references and onscreen discussions about The Godfather movies made me want to revisit that series, too. At one point in The Sopranos, the crew is attempting to watch The Godfather: Part II. Paulie asks Tony, “What’s your favorite scene?” Tony shakes his head, saying, “I-I can’t have this conversation again.” He’s talking about discussing a favorite scene (it’s when Vito goes back and kills Don Ciccio), but I think of Tony’s line in regards to the most common question concerning The Godfather Saga: What’s your favorite, one or two? (Three is never an option, but I’ll get to both versions of that film soon.)
I hate picking a favorite film each year, much less of all time or even within a series, but with The Godfather trilogy, it’s even more difficult because it is such a focused story about Michael Corleone’s rise and fall. In other franchises, it’s easy for me to jump in and watch one movie (like watching The Empire Strikes Back out of the blue or Aliens or The Dark Knight). But with The Godfather, I always start with the first film and work my way through the trilogy in a week or two. So rather than get into whether this film is “better” than the first film, I’ll instead focus on why I find it to be the most important film in the trilogy.
After this rewatch, what impressed me the most about Part II is that it’s a double period piece taking place during Vito’s emigration and rise in the criminal world of New York City in the early 1900s while also showing Michael’s cold-blooded decisions to retain power and protect his family in the 1950s. The technical aspect of making a film during two different time periods interested me, but the thematic reason for doing it is what makes this film special.
The main story, to me, is all about Michael’s attempt to protect his family while he tries to make the Corleone family legitimate. It’s a tragedy as he essentially destroys his family by blindly and heartlessly making life and death decisions. Because of this, the Vito portion of the film isn’t simply a prequel for the audience to see Vito as a young man. It’s showing what Michael is destroying and, more importantly, it makes it clear that he never had a chance of saving his family.
I used to watch this film and just think Michael is a blind piece of shit. How could he seriously think his decisions and treatment of his family (especially his wife, Kay) would end well? It culminates in his most evil decision of having his brother Fredo killed. He is truly a lost, lonely man at this point.
Because of this mindset, I would view the Vito scenes as an example of the family that Michael has destroyed. But Vito’s rise to power is the foreshadowing of Michael’s loss of soul. Yes, Vito seems to be all about taking care of his family, but all the scenes of him holding the baby versions of characters we know can’t erase how focused and brutal he is when it comes to gaining power and seeking revenge.
Vito going back to Italy at the end to kill Don Ciccio is seen by many as a triumphant moment (it’s Tony’s favorite scene, after all), but I see it as just as tragic as Michael’s downfall. Vito is consumed with revenge. Yes, it is revenge for his family, but as in every story of vengeance, it is clear that the act itself is really more important than any idea of justice for dead family members. The code of the mob world demands Don Ciccio’s death.
Vito’s revenge actually proves Don Ciccio right. Don Ciccio tells Vito’s mother at the beginning that he cannot spare Vito because one day he will grow up and want vengeance. It’s a perfect example of the vicious cycle of the mob life. Vito knew this, and it’s why he wanted something different for Michael in The Godfather. Michael thinks Vito always wanted him to get involved with the family and that by joining the Army he was rebelling, but Vito tells him later on that he never wanted this life for Michael. Vito does not apologize for his life, and he even admits that he knows Sonny was always going to be in the life (and he insinuates that Fredo was always going to be a fuck-up), but he had hoped Michael could hold legitimate power as a politician rather than a criminal. Ignoring the argument that politicians can be just as bad, if not worse, than the mob, Vito wanted something better, and less violent, for Michael.
Vito’s hopes for Michael are reaffirmed by the flashback at the end of Part II in which Michael tells his brothers about his enlistment. Sonny, of course, blows up, and Fredo is his meek self, but Tom’s reaction is the most telling. Tom explains to Michael that he and Vito had discussed Michael’s future many times. Michael is annoyed by this at the time, but focusing on this memory at the end of the film is very telling. Michael finally realizes what Vito really wanted for him: to never be involved in the family business. Michael originally thought, once he was involved, that his father wanted Michael to bring legitimacy to the Corleone name. That’s his main motivation throughout Part II and Part III. After destroying his family in the name of legitimacy and honor and vengeance, Michael finally realizes that he had no chance of achieving this while being a part of the mob, despite his proclamations about wanting to get his family out of that life. It’s too late. As Vito sadly tells him in the first film, “There wasn’t enough time.”
The Godfather films have always been a tragedy about the mob, and it’s a bit tragic that so many people view them as celebratory of mob life. These are some of the most depressingly beautiful films ever made, and it’s unfortunate that some viewers just see them as cool “mob movies.” Part II is the most important film in the trilogy simply because it shows Michael’s downfall and how Vito’s choices led to all of this. It’s also important because it is a perfect middle film of a trilogy.
The Godfather: Part II makes The Godfather a better film because we can go back and watch it knowing Vito’s journey and his hopes for Michael and how the events of that film are even more tragic than once thought. And it sets up the third film, as well, with its focus on Michael trying to save his soul after losing it in the events of Part Two. I appreciate the first and third films so much more because of the second film. Does that make it the best? To some, sure. For me, it makes it the most important.
Why Do I Own This?
It’s part of the collection I own, but, you know, it’s also one of the best films ever made...in my opinion.
Random Thoughts/Favorite Quotes
Much like the wedding in the first film, that has to be the worst parking situation in the history of first communion parties.
Wait, are first communion parties a thing? I'm Catholic, and I just remember maybe my grandparents coming by our house after my first communion. But then again, my family isn't in the mob…
I don't know why, but I could listen to G. D. Spradlin talk for hours.
I would especially enjoy hearing him pronounce Italian names incorrectly. His pronunciation of "Vito" is impossibly wrong.
I could also watch Michael Gazzo drink from a hose for hours.
I know an attempt was made on Michael's life, and he did tell his kid that he got the drawing he made, but he never answers the question posed by the drawing. Michael should definitely have told the kid the drawing fucking sucked despite all the distractions of the evening.
The meeting with the president of Cuba always cracks me up with the solid gold phone being awkwardly passed around the table. “Yes, el presidente, this stuff with the rebels is very concerning...oh, man, this gold phone is fucking awesome! Gino, feel how heavy this thing is! Anyway, this Castro guy…”
I am in awe of Michael's bodyguard's commitment to wearing all black at all times in Cuba.
Michael: "Fredo, I want you to show the politicians a good time here in Havana."
Fredo: "There's this club that has a dude with a giant dick. He breaks a cracker with it."
Michael: "..."
Looking back, it's pretty hilarious that the moment Michael realizes Fredo betrayed him there's a man with his dick out on a stage in front of them.
Mob bosses should stay away from oranges.
"I'm smart!"
Fredo, you're lucky they even let you have the small responsibilities they entrusted you with. I wouldn't trust you to pick someone up at the airport, you eternal fuck up.
Vito don't fuck around when it comes to knifing someone…
Fuckin' Michael's answer to everything is to kill someone.
But, as the don from Corleone knew, if you leave anyone alive that might want revenge, they will eventually seek it. I suppose this is why Michael still kills Fredo even though Fredo seems so helpless in the end. Fredo has the capacity to betray Michael again at some point, thus he must go.
What kind of ex-husband did Kay think Michael was going to be? The dude is not big on forgiveness or changing his mind about shit.
I like how Sonny tells Fredo to make him a drink in the flashback. That’s right, Fredo, you deceitful fuck; no matter who was boss they were going to make you the bitch.
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