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"The Godfather, I and II": Patterns of Corruption Anthony Ambrogio

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"The Godfather, I and II": Patterns of Corruption Anthony Ambrogio NBC's 12-15 November 1977 telecast of God/flf/ier/and//in reedited, almost strictly chronological form, padded by the addition of scenes previously cut, provided some insights into and confirmations of elements in the original filnis but didn't improve upon the initial structure of the pictures, particularly the point-counterpoint of Godfather IL The "complete novel for television" received disappointing ratings and even provoked some unfavorable critical reassessment of the original iHmsA This lukewarm reception contrasts sharply to the rave reviews Godfather I and // received when first released in 1972 and 1974, respectively. In fact, in 1974, many critics proclaimed // even better than its predecessor. 2 No doubt, IPs dual-plot structure contributed to this preference; in //, the eariy history of Vito Corieone (nl Andolini), the God- father, adapted (and considerably embellished) from the unfilmed portions of the book, alternates with the continuing story of his son Michael (Al Pacino), the new Godfather, taken up from where/ left it. Together, these two sections of // provide a fascinating framework, backward and forward in time, for the original film. TV disrupted this framework; the Godfather saga lost its epic quality by no longer beginning in medias res, with /. Despite the flashbacks, which comprise almost half of its running time. Godfather II was advertised as "Michael's story," and most critics were quick to see it as such, since it completes Michael's degeneration, begun in/, from a nice ex-college boy, ex-war hero to a ruthless criminal. (For that matter, / is •Michael's story," too.) What critics failed to see was the artful way in which this transformation is accomplished.^ For //'s modern section, director Francis Ford Coppola and his co-scenarist. Godfather novelist Mario Puzo, the architects of Godfather 1, simply went back to their drawing board, unroUed their old blueprints, and remade The God- father- with, however, several significant differences. They repeated the pattern they established in / while playing upon it numerous subtle, clever variations in order to underline the further and complete corruption of the (Corieone family: every important incident in the first film has a parallel in the second. Carlos Clarens was the first critic to catalogue in print several of the, 35 many parallel sequences between / and ZT, but he doesn't realize or stress the reason for these repetitions or note that they're imperfect repetitions-by design.^ A complete catalogue— and comparison— of these inexact parallels will reveal that reason and design. Godfather I begins with a large, outdoor celebration— the wedding of the Godfather's daughter- while the Godfather holds court inside, taking care of business and personal matters (e.g. undertaker Bonasera's request that the Godfather avenge his daughter; godson Johnny Fontane's request for a part in a movie); Godfather II begins the same way^the new Godfather throws a gala outdoor party in honor of his son's first communion and also attends to business and personal matters (e.g. Frankie Pentangeli's trouble with the Guzzardo brothers; his sister's parade of boyfriends and neglect of her child- ren). In each movie, we see that these initial matters are later acted upon; the most notable— and most parallel— of them are the intimidation of movie producer Jack Woltz (John Marley) in / and of Senator Pat Geary (G. D. Spradlin) in //. Both the producer and the Senator— after refusing to accede to a Corleone request— undergo ordeals which persuade them to change their minds (the proverbial "offer they can't refuse"): they wake up stunned and bloody in bed. Woltz finds his Arabian stud horse's severed head under the covers and Geary finds his favorite s & m prostitute cut up and dead under the covers. (Clarens also mentions these parallels.) Early in /, there is an unsuccessful attempt on the Godfather's life; even earlier in //, there is an attempt on the new Godfather's life. Both films pro- ceed from these points to tell tales of gang warfare and betrayal within the organization and the family. Barzini (Richard Conte) surreptitiously leads the Five Families in opposition to the Godfather's organization in /; Hyman Roth (Lee Strasberg) duplicitously threatens Michael's operations in //. ( In both films, the factions ostensibly reconcile. In /, Vito Corleone (Marlon Brando) calls a meeting of the Five Families; they sit around a conference table while the Godfather makes an impassioned plea for peace. This plea is apparently heeded, and everybody becomes "business" partners again, planning to go into dope dealing together. In //, Michael Corleone and Hyman Roth seem to form an uneasy alliance; they also become business partners and sit around a con- ference table with others, planning to divide up Cuba together. Of course, reconciliation in both films is only a smoke screen; violence between the two factions erupts again before each film ends. Just as his father balked at be- coming involved with drug dealing, so Michael balks at investing money in Roth's Cuban scheme— a smart move, since Castro's guerillas take over the country shortly afterward. However, in a reversal inspired by /— wherein Michael prevents his father's attempted murder while Don Vito is recovering in the hospital— Michael is prevented in //, from having Roth murdered while Roth is recovering in the hospital. Michael becomes the unscrupulous criminal his father's opponents were. Trusted Corleone lieutenant Tessio (Abe Vigoda) betrays the family to Barzini in /," in //, another trusted lieutenant, Frankie Pentangeli (Michael V. Gazzo), Clemenza's successor, betrays the family to the government. Each pays the price for his treachery. Similarly, brother-in-law Carlo Rizzi (Gianni Russo) betrays the family and sets up Sonny (James Caan) in /; in //, brother Fredo (John Cazale) betrays the family and sets up Michael. In each case the delin- quent family member is given a grace period (no one touches Carlo while Don Vito is alive, nor Fredo while Mama Corleone is alive) before he, like Tessio and Pentangeli, is eliminated. Both movies have as their climax a blood bath, a series of multiple murders carried out under Michael's orders; he uses these 36 executions to consolidate his organization's power, ruthlessly wiping out "business" opponents (Barzini, the heads of the Five Families, and Moe Green [Alex Rocco] in /,• Hyman Roth in //), traitors to the group (Tessio in I; Pentangeli in //), and the traitors to the family (Carlo in /; Fredo in //). Clarens also notes this parallel slau^ter. But the parallels do not stop there. In /, Michael convincingly lies to his wife, Kay (Diane Keaton), assuring her he had nothing to do with Carlo's death, then ushers her out of his office and closes the door on her, effectively shutting her out of his life as he goes back to business. In U, the latent prob- lems in their relationship (re)surface, and her resentment over his refusal to go legitimate causes her to leave him. Exerting his Godfatherly authority, Michael retains custody of their children. On one of her clandestine visits to see them, Kay tarries too long trying to get her son to kiss her goodbye. He is on the verge, about to come embrace her, when Michael returns to find Kay on the threshold. He goes to the door and quietly, firmly, shuts it in her face. This gesture is a repetition of his closing her out in /, but it takes on added weight here because of the different circumstances and has a note of finality to it. Indeed, we do not see Kay again in //. As is obvious, Coppola and Puzo clothe their retelling of / in different terms, disguising the similarities between the two films by using different locales (Florida, Cuba, and more of Nevada than in /) and the latei^model cars, hair styles, and fashions of the fifties in //, and by adding to // a variety of contemporary detail (the Cuban revolution, the Kefauver-like Senate sub- committee investigation)—all to obscure its thematic and narrative duplication of /. Besides returning to / for their inspiration, Coppola and Puzo also return to the book, incorporating flashbacks of the early life and career of Vito Corleone (here played by Robert DeNiro), which helps to contribute to the deceptive "new look" of //. However, Coppola and Puzo's talent and integrity save // from being a mere copy of /: they use its repetitions to expand upon ideas put forth in /, and they use its Vito Corleone flashbacks to counterpoint Michael's contemporary story; they develop possibilities which are only suggested in the hastily and sketchily written (but admittedly fascinating) pages of Puzo's novel. Godfather IPs repetition of key incidents in Godfather I shows the perpetuation of crime and the criminal empire in the second generation of Corleones. At the same time, ITs imperfect repetitions show the expansion of evil, the degeneration of crime and of that criminal empire. Coppola and Puzo subtly illustrate the loss of any kind of tradition or honor in this dirty business and the gradual and complete corruption of Michael Corleone, a process which begins in /—when he avenges himself upon Captain McClusky (Sterling Hayden), the crooked cop who broke his jaw, and Sollozzo, the "Turk" (Al Lettieri), who had his father shot^but which reaches completion here. Godfather II may begin with a big celebration, as does /, but the latter celebration is inferior to the former. There is none of the ethnic verve of Ps wedding in IPs expensive, homogenized communion party, situated in the alien land of Lake Tahoe. Don Vito's suburban New York estate, thou^ somewhat removed from the city, is still close to his roots and to the heart of the Italian community, of which he and his family remain very much a part.
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