I unlocked something during a screening of THE GODFATHER PART II on the weekend. I’ve seen the film dozens of times – probably as much as I have seen the original film, as I always watch the pair together – and this was the second time I’ve seen the sequel on the big screen; but I noticed something that had eluded me all these years.
In the final ten minutes of the film, we are delivered three iconic scenes: Fredo’s murder by Al Neri at the behest of Michael, followed by the scene that takes place before the events of the first film where they are gathered for Vito’s birthday, and finally that shot of Michael sat alone amongst a forest of dead leaves – one of the greatest downer endings of all time.
I had thought that Michael’s ruminations in that final scene were on a range of subjects that had led him to this point: Fredo’s betrayal and subsequent murder, the death of his mother, Kay’s abortion of his child, and their subsequent separation.
But I now think it’s something more specific than that.
In that star-studded scene that appears between Fredo’s murder and the final shot of Michael, I’d always focused on James Caan’s domineering appearance. We see the Long Island compound in happier times, as they await the arrival of Vito who we will never see (Brando had initially agreed to return for the cameo, but didn’t show up for the single day’s shooting likely due to financial disputes with Paramount).
We see Michael sitting opposite his brothers, Sonny, Tom and Fredo. Carlo is brought in and introduced to Connie for the first time, and we even see Abe Vigoda appear as Tessio, bringing the birthday cake.
I always thought the narrative purpose for the scene was to show Michael’s announcement to the family that he’s joined the Marines: the family are talking about the news of the Pearl Harbour attack, Sonny refers to the men who have enlisted as a bunch of saps; Michael says they are fighting for their country and announces he has also joined up.
What follows are a tense couple of minutes. Sonny is visibly disgusted, and needs to be restrained from hitting his youngest brother. Tom is disappointed, though in a more measured way, outlining how he and his father had plans for him (something which Michael takes as a slight that acts as subtle motivation for some of his comments and actions towards Tom during the rest of the film). Connie and Carlo, perceived to be so far down the pecking order, are not allowed to comment and are instructed to leave the room.
The reaction that has always stood out to me though is Fredo’s. After his brothers’ initial negative reaction, Fredo says “That’s swell, Mike; congratulations,” and offers his hand for Michael to shake, which is thrust away in disgust by Sonny. I’d always taken this as a throwaway example of Fredo’s naivety, and his inability to read a situation; another reason he was ‘stepped over’, as he puts it earlier to Michael.
Instead, it’s Fredo’s response that stands as the only shred of positivity in the room. Either he’s genuinely happy for Michael’s news, or he’s standing up for his younger brother after his older brothers are so damning. It’s perhaps both. Either way, it’s proof that Fredo’s heart, like Michael’s at that point, hasn’t been corrupted by the family.
I had thought that the scene was there to act as a nice resolution to the two films, acting as a full-circle loop to tie the narrative up. Instead, I now think it’s simply a memory of Michael’s – as he sits and stews in that final shot, over what he’s just done to the only brother that was ever genuinely kind to him. This quite upset me in the cinema, and moved me more than the film has ever done before.
*
THE GODFATHER PART II stands as one of the only sequels to win Best Picture at the Academy Awards – the other being THE RETURN OF THE KING, which always felt more like recognition of all three LORD OF THE RINGS films rather than that specific film’s achievement.
Coppola’s film overreaches wildly, but it nearly all hits its target. It’s the best-structured film I can think of – part prequel, part sequel, with both stories executed in parallel to highlight the similarities, and differences, between Vito’s rise to power and Michael’s attempts to maintain that power. More than anything it feels like two films for the price of one, and I get the feeling any studio today would release them independently of each other.
The other thing the film does beautifully is present a host of subtle echoes from the first film: the Cuba boardroom meeting echoing the meeting of the five families, Vito taking a concealed gun to commit the murder that will change his fate, Michael’s thunderous face learning about Kay’s abortion echoing a similar look just before he shoots Sollozzo and McCluskey, Tom and Kay’s conversations around safety next to the compound gate. There are undoubtedly more…
As well as another beautiful Nino Rota score, I also look forward to the film’s appearances by younger up-and-coming actors: Danny Aeillo’s bungled assassination of Frankie ‘Five Angels’ Pentangali, Bruno Kirby’s scheming take on a young Clemenza, Harry Dean Stanton’s Federal agent and Joe Spinell reprising his role as ‘button man’ Willi Cicci from the first film. The cameo by an eagle-eyed Roger Corman on the Senate Committee is also a nice surprise.
I used to prefer the simpler, more linear scenes with Robert De Niro’s Vito Corleone but the older I get the more I’m obsessed with Michael’s scenes in Lake Tahoe, Miami & Cuba.
Hit: Main Title / The Immigrant
Hidden Gem: Remember Vito Andolini
Hey, STELLA!!! I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let’s face it. Someday – and that day may never come – I’ll call upon you to do a service for me. But until that day, accept this justice as a gift on my daughter’s wedding day. Get the butter!
All hail the greatest cinema in Auckland – the Event cinema on Broadway in Newmarket. Not only was this the location where I met both Quentin Tarantino and Danny Boyle, but last Friday night they played The Godfather.
I saw something last night I thought I’d never see – Axl Rose, Slash and Duff McKagan on the same stage together. It’s been a long time coming, but for a large part of the twenty five years since I first heard Appetite For Destruction, it seemed unlikely that a reunion would ever happen. Slash kept himself busy, playing in Velvet Revolver (with Duff) before going on to record several decent solo albums. Axl retained the Guns N’ Roses name, touring the band in the 21st century with a host of stand-in musicians and finally releasing the long-threatened Chinese Democracy album in 2008. The new Axl was a portly fellow, rumoured to have an addiction to fried chicken and was described by one audience member in London as ‘a gold lamé blob up on stage.’ A reunion seemed as unlikely as all four Beatles playing together on stage.
Al Martino is probably best known for his portrayal of Johnny Fontane in the Godfather films. He plays the Godson of Marlon Brando’s Vito Corleone, and appears at Connie’s wedding at the start of the film to rapturous screams from the girls present. Johnny’s career has gone onto bigger and better things since they last saw him, with more than a little help from his Godfather early on in his career.
Vinyl Stylus 