The Godfather Part II: revisiting my favorite(?) films of all time.

The first film I saw this year after the Oscars was "The Godfather." In a theater, nonetheless.

I have always loved "The Godfather" trilogy. Even before I saw the somewhat maligned "The Godfather part III" I was singing it's Oscar praises. The idea of an entire trilogy winning Best Picture was so unbelievably exciting for a 14 year old budding Oscars enthusiast. I can remember staying at my Grandmother's house one weekend in January or February, miserable, watching E! on her living room box television set while they talked of different film's chances to win the Academy Award. It was like a Southern set Augusten Burroughs novel starring me.

I can remember thinking how mad I would be if "Goodfellas" (which I hadn't seen) won Best Picture instead of my beloved (and unseen) "The Godfather Part III." Instead, neither won. "Dances With Wolves" took Best Picture. Eventually I did see "The Godfather Part III," and I loved it. I didn't see "Goodfellas" for at least 15 more years!

Looking back, it was a pretty weak year for Best Picture. "Ghost?" Really? I never saw "Awakenings," but honestly..."Goodfellas" probably deserved it. I would like to revisit "The Godfather Part III" one day, but I can tell you, in terms of this series, I have never once called it one of my favorite films of all time.

Part II? Now that's a different story.

I've been on the "Godfather II is better than Godfather I" bandwagon since I first saw it. I honestly can't remember seeing the original for the first time, but I do remember seeing Part II. I was 12 years old. It was more than likely playing on HBO, but it's possible I watched it on VHS, on the small television I had in my bedroom. I've only seen it a few times since then, maybe only twice.

If you asked me why I thought the 2nd film was better, even a couple of weeks ago, I might not have been able to tell you, but having now seen both again, with fresh eyes, I have a few definite reasons.

When it comes to Part I, there are some things that I remembered, but not in they way Part II impressed on me.

The first of these moments comes quite early--it's the visual of Vito’s mom being shot, while shakily holding the knife against Don Ciccio's throat, the man who killed her husband and son. It is a stunning shot that must have been embedded in my memory during that first viewing. But there are so many more.

Young Clemenza holding the gun from inside the house where he and Young Vito are attempting to steal a run, at the ready to kill the postman (I think it’s a post man) outside.

When Michael first confronts Frank Pentangeli (played by Michael V. Gazzo, nominated for an Oscar for the role) only to tell him (and us) that Hyman Roth (played by famed acting teacher Lee Strasberg, also nominated...and should have won, thank you very much!) attempted to have Michael killed. Pentangeli is safe (for now!) Michael says "Keep your friends close, but keep your enemies closer." I more than likely started saying that to everyone I knew back in middle school. I hated that time in my life.

When Michael catches his brother Fredo in the lie that sets the rest of the film and Michael's offensive in motion, tortured by the discovery--it's so incredible. Pacino, great in the first film, is something else altogether in this one. He is like a stick of dynamite, ready to ignite at any moment.

De Niro (as a young Vito), stalking the roofs as Fanucci, the Don who is holding their neighborhood hostage, walks in the street amongst the very people he is terrozing during a parade, set to the incredible "Death of Don Fanucci."Moments later--De Niro in the corner of Fanucci's building with the towel wrapped gun. The light bulb flickering as Fanucci tightens the bulb. The towel aflame after Vito’s first two shots…the third shot…a graphic suicide set up followed by De Niro taking a victory walk amidst fireworks in the same streets Fanucci has just walked moments before ending with the new Don holding his son Michael.
It’s an incredible moment, one of the best scenes in film history. A scene that won De Niro an Oscar.

Kay's abortion reveal...Don Ciccio's murder. It goes on and on. These are the sorts of imbedded memories that make "The Godfather Part II" a true masterpiece.

"The Godfather Part II" is much more than moments and scenes. Coppola and his team's entire approach is almost audacious. For one thing, the cinematography is unbelievable daring for the time...full of symbolism and bold tones...this is a fantasy in many senses.

The camera is tighter and the palate much warmer than "The Godfather." It's a rust red matte that almost appears as if it is bleeding. Much of the furniture, set decorations match…the lamp shades, the couches, the curtains. Cinematographer Gordon Willis's use of light and the camera is unbelievable. The fact that he didn't win...it's as egregious, in my opinion as Gregg Toland's loss for "Citizen Kane."

Much credit also belongs to director Francis Ford Coppola, who did win the Oscar after losing for Bob Fosse ("Cabaret") a couple of years prior. The film is LONG. 3 hours and 22 minutes. Coppola takes a glacial pace. Even the final act is much more deliberate in speed than the final act of Part I. It just seems quicker after the previous 3 hours and 10 minutes.

The film breathes because the scenes breathe. And the parallel dramas, which apparently bugged some critics...don't stop the tension. It forces us as an audience to hold it in while we go from present day Michael's unraveling, to the steady birth of a new Don with Young Vito. A movie like this would never be made today.

Of course, it all comes down to that ending. The film begins and ends with the death of a brother.

We see Young Vito finally get revenge for his brother’s murder. And soon after, in the present, we very briefly believe Fredo (Michael's dim brother, who betrayed the family,) forgiven by Michael after their sister Connie (Talia Shire, brilliant, yet again) pleads for his life. Of course, his life is not saved after all.

The film’s final 10+ minutes are so unbelievably iconic. The Roth assassination. Pentangeli's suicide. And of course Fredo's murder, with Michael watching from the window.

All of the performances--Shire, Keaton, Pacino…they are so dark. They dig deeper than they did in the original. Coppola is better, and they are better, which, along with the daring storytelling, on the page and visually, makes this film not only better than the original, but also one of the best films of all time.