The Godfather Part II (1974) Film Review 

Can’t a man get a good night’s sleep? Such a thunderous opening of the continuation of a family which has the appearance of love but in actuality lives in deceit contains that precious emerald of The Hebrew Canon:

But the wicked are like the troubled sea; for it cannot rest, and its waters cast up mire and dirt. There is no peace, saith my God concerning the wicked.

Isaiah 57:20-21, King James Translation

Michael Corleone, in the opening presentation of the annals of the legacy of the Corleone’s, has established a firm footing in the resemblance to his Father – though perhaps he is a bit too conceited. No, the film is not making an effort to reveal a pride that has a mysteriously beautiful fall in the later revelation of the lost child that is caused by his effects upon the world, for, what else but more? 

More havoc? Who desires so much?

It must be a man who believes he has a duty to fulfill, in continuing to enlarge the family’s stature for greatness.

And how tangled that web is, as Mr. Coppola brilliantly depicts that double-mindedness of those who embark onto the road of largesse – with the necessary ingredients of political corruption baked into the Italian recipe so erstwhile canonized by the film; so complementary to the American ideal of liberty and embedded within it: opportunity. 

An opportunity to leave a low position for one higher.

And such is the remembrance interwoven artfully with his father, Vito, and the harsh circumstances of a world where men will do away with other men because of insults – and will exterminate their families to annihilate any modicum of vengeance from the wicked-doing. 

Of not being able to handle an authority which is contested. 

Authority is this central to the legacy, and with it honor; for disrespect is in blemishing the honor of someone; unjustly however? 

What if it is just to speak the truth to a corrupt power, that is more moveable as a force on Earth because of choices which denature human wellbeing? In harming others to gain advantages in better tasting lasagna, or better kitchens where better cooks can improve one’s taste of This World?

That This World, This Life, is presupposed in Catholic religiosity – with the unmistakable connection to a forgiving God-Father with a revenge-seeking godfather that Michael becomes – reveals the limitations of honor in the acceptance of a fallen state of human nature. 

Fallenness propitiates the dishonoring of the soul, into, say, the extension of the rational choices to cover up murders; towards corrupting state senators; towards murdering one’s own brother.

Is it for the filmgoer to judge? 

It is certainly not for the filmgoer to admire.

Yet that temptation of gaining a boathouse, with such a directorial-focused emphasis on “business” – (the word is utilized in the film thirty-three times) – has no doubt impressed the youth with such ambitiousness, with such appreciation of the glamour of the gangster who even Presidents are obedient to. 

Such a nighttime menagerie of darkness in the soul ought to bring a mind towards compassion with Kay’s decision to leave Michael, to leave the family. To leave a world where choices are seemingly carefree. 

Because they are paid for in blood and bullets.

Can humanity do better? Why does the question need to be raised? 

Because the chateau is that delicious to dream about. 

 Grade: A