Hello everyone, it’s the Classic Film Kid and I’ve decided that this will be the last article I do under that name. I am still going to keep writing, never fear, but I’ve always had the itch to talk about more things other than classic films and considering I am at the grand old age of 17 the “kid” part of that moniker doesn’t really ring true anymore. Therefore I thought it would be a good idea to finish this particular “era” in classic film style, by reviewing arguably the two most classic films ever made, Francis Ford Coppola’s legendary duo The Godfather and its sequel, The Godfather Part II.
By the way, I call it a duology as Coppola has stated he considers Part III to be an epilogue of the story as opposed to its resolution and considering I have not yet seen the film, and its solid-but-not-classic reputation, it makes more sense to cover the first two films in this way. All three films have recently been shown again in cinemas nationwide as a celebration of the first film’s 50th anniversary, so I recently rewatched the first film and a couple of weeks later went to a very packed cinema to watch the second. And I came to the conclusion that they are both superb pieces of cinema and two of the greatest films ever made. Hot take, I know.
In all seriousness, these two films’ stellar reputation proceeds them so much these days it’s intimidating, and they are also huge beasts to watch length-wise too, both clocking in at just over three hours. /however, with those odds against me going into them, I almost immediately got sucked into the lives of the Corleone family and the many situations they get involved in.
The first film opens superbly with the iconic wedding scene. The team of Ford Coppola and cinematographer Gordon Willis really make the two films feel large and cinematic, and with the wedding scene we truly see this scope – there are so many extras and glamorous costumes that it immediately conveys not only how far this life of crime has spread, but also sells the front that the Corleone family has put on to the rest of the public, with the extravagant lifestyle hiding the complete lack of morality. This is even shown story-wise – Marlon Brando’s iconic titular character is seen negotiating with his godson, who is trying to secure a movie role, so naturally Vito thinks the only sane thing to do is force compliance from the head of the studio by decapitating his prized horse and leaving its head in his bed. As you do.
What I especially loved about the first film was the world of crime that the Corleones inhabit. It feels so expansive and real, watching the cogs turn against the Corleones in the first act as Brando’s character is shot (and the presence of death is signified by an obscenely large amount of oranges), and the family has to make last-minute changes to keep their businesses going. Despite the length, the pace is always steady and the plot never lulls, there’s something going on in every scene.
Al Pacino is absolutely phenomenal, especially in the 2nd film – there is a palpable sense of rage and discomfort from him in almost every scene and it’s riveting watching his character make unpredictable moves you don’t see coming.
The second film is even longer and even more plot-heavy than the first, this time focusing on Al Pacino’s character Michael as the head of the family, as well as a series of flashbacks exploring the upbringing of Vito and his rise to power. Although I prefer the side of the Godfather Part II that focuses on Michael, I do appreciate how the flashbacks serve to contrast his story – Vito’s storyline dictates a rise to success and glory, while Michael is struggling with his sanity and his relationships as tensions increase between him and his circle.
Al Pacino is absolutely phenomenal, especially in the 2nd film – there is a palpable sense of rage and discomfort from him in almost every scene and it’s riveting watching his character make unpredictable moves you don’t see coming. Two scenes that in particular stood out to me were the iconic New Year’s Eve party scene, in which Michael finds out Fredo is the traitor, and a later moment of tension between him and his wife Kay, where she reveals she didn’t have a miscarriage – she in fact had an abortion. Pacino is terrifying in both scenes, particularly in the latter where we see his face twitching, trying his best not to lash out. It’s captivating, to say the least.
In fact, the performances are incredible across the board in both films – Marlon Brando’s iconic thick speech (which he supposedly learned by stuffing cotton into his mouth during rehearsals) as the Godfather in the first film truly sounds like the way an elderly crime boss would speak, and the mannerisms are spot-on too. The late great James Caan as Sonny is also terrific, with his death scene being a standout moment in the first film. These three really are the tour de forces in the first film and the final act is easily the most satisfying in either film, for me. Watching Vito die peacefully in his garden and the reigns of the family handed over to Michael is so compelling, and I adore the final shot here too. Watching the door close on the outside as Michael fully embraces the life of his father, a life that he was distant from at the start of the film, ends the film on a note that feels incredibly cathartic after all of the character conflict, and the second film continues this conflict.
If I have any issues with these two films, they’re really minor. People have made comments on the performances of some of the female characters for years now, and although I don’t think they’re terrible (Diane Keaton is phenomenal in both films), they certainly leave a bit to be desired and can make the films seem melodramatic at times. Also, the second film can be a bit difficult to follow, what with the many plot strands in both the main story and the flashbacks to Italy that can clash a bit, especially towards the end. I don’t mind things being complicated providing they’re coherent, and Part II does occasionally suffer from certain names and characters bleeding into one another, for me.
But to conclude, it’s really a no-brainer that The Godfather and The Godfather Part II are superb pieces of cinema. They are fantastic examples of how to write compelling scripts with non-stop dramatic tension, multi-faceted characters that have clear motivations and desires, and deliver the goods with stunning direction and cinematography that is still unparalleled.
But now, I’ll give my verdict on the question as old as time: which film is better? For me, even though the second film has greater dramatic heights, I think I have to go with the first one. The story is just more tightly-plotted and focused and it honestly doesn’t feel as long as the 3 hours it actually is. Therefore, I will give The Godfather a perfect 10, and The Godfather Part II a strong 9.
Well, there you have it, two mighty titans of cinema for the price of one review. I hope you’ve enjoyed reading this article and indeed all of the Classic Film Kid articles for the last six years. As I said at the start, the only thing that’ll be changing is the name, I’ll just be calling myself my normal name from now on, we’ll still be covering film, Tv and really anything that tickles my fancy, I just feel the Classic Film Kid name has become a bit redundant. Thanks once again for reading, and for the last time, this is the Classic Film Kid signing off!
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