The Godfather Part II holds the unique distinction of being the first sequel to win an Oscar for Best Picture. The Motion Picture Academy honored it with more awards than its predecessor, and there are some fans who feel it is superior to The Godfather. I am not one of them, however. I should point out that the critical response to this sequel was mixed—everything from raves to outright pans. It also didn’t perform as well at the box office as the first film.

Still, there is much to admire here, and it’s a good movie. My issues with it make more sense if you understand why I find the original to be so unusual. You can read about that here, but to summarize, the first story eases us into the Corleones’ world through youngest son Michael’s journey from innocent outsider to active participant to head of the “family business.” I’m fascinated by the honored relationships and “personal favors” and the dramatic arc of Michael’s descent into a life of crime.

The sequel takes two plots from different eras and intercuts them into an overall narrative. One is sourced from the same novel as the first film, depicting the origins of Michael’s father, Vito Corleone, and how he came to be “the godfather.”  In the 1972 film, Vito was portrayed by Oscar-winner Marlon Brando and is now played by Oscar-winner Robert De Niro, marking the first time a character has garnered Academy Awards for two different actors in separate movies. For me, this “prequel” narrative is the more compelling of the two. We follow nine-year-old Vito Andolini (Oreste Baldini) from his deeply troubled childhood in Corleone, Sicily, where he witnesses the shooting deaths of his older brother and mother by the Mafia. He escapes to America as a withdrawn mute, and an Ellis Island guard registers him by the name of his former town instead of his surname. Later, we see Vito as a young adult, married to Carmela with baby Sonny in tow. Vito is working for a grocer in Little Italy, and he unknowingly agrees to help his friend Clemenza (Bruno Kirby in this film) hide guns. They also rob an elegant apartment. The local mob boss Don Fanucci (played with great flair by Gastone Moschin) attempts to get a cut of their business, and after temporarily convincing Fanucci to take less than he demands, Vito stalks him and murders him outside his apartment. We are witnessing the rise of a major crime boss in early 20th-century America. As with the first movie, I find myself taking the journey with these characters, fascinated by their dark descent.

Robert De Niro as Vito Corleone.

The second storyline is not from the novel. Set in 1958, this new plot depicts Michael (Al Pacino, once again) with his further criminal dealings. It’s well made but feels contrived and convoluted at times—more twists, more turns, more bullets, more locations … but not necessarily more interesting. “More” isn’t “better,” in this case. In addition to a few plot holes and leaps of logic, what’s missing is a sense of honor, core values, and stylistic dignity (if you can believe it) that Brando’s Vito brought to the proceedings. Even though I was repulsed by their violent actions, I saw a warped humanity in these characters. Michael started out as a likable, unspoiled guy. He was affectionate toward his future wife Kay (Diane Keaton). Destiny intervened, drawing him in, and by the closing credits, he was a cold and powerful man. In Part II, he has nowhere to go but colder and more powerful. He becomes damn chilling in the end, but it’s more of the same without unexpected or uncharted bends in the road. As a result, this story doesn’t have a comparable impact, an inherent issue with most sequels, and I’m disconnected from these characters who lack any humane perspective this time around.

Michael (Al Pacino) gives his brother Fredo (John Cazale) the kiss of death for betraying him.

Still, The Godfather Part II has plenty to love. The performances are memorable, particularly from a trio of Best Supporting Actor nominees: Lee Strasberg, Michael V. Gasso, and (winner) De Niro. As beautiful as the music is in the original film, it’s even better in this one. I’m glad the Academy honored it after they disqualified the score from the first movie on a technicality. The Art Direction takes a leap forward as well, primarily in the elaborate flashback sequences on the early 20th-century streets of Little Italy in New York City.

I understand why fans adore this movie. It’s a deeper dive into the world of the Corleone family, super-sizing everything, including running time. It surpasses the original by nearly 30 minutes and even has an intermission. Some of the plot points are more explosive, like Fredo’s death and Kay’s abortion. Regarding the latter, it makes no sense that Kay, who is closely guarded at the Corleone compound, would be allowed to sneak off to a doctor or private specialist to have it done, let alone hide the entire procedure and experience from Michael.

Quibbles and comparisons aside, I enjoy this film a lot. It’s an admirable and satisfying sequel to a highly original masterpiece.

The Godfather Part II