The world of “Godfather II” is relatively, and ironically, sunlit - Tahoe and Cuba, for instance, as compared to the Don’s gothic study, or the oftimes wintry grayness of Long Island - and Michael’s corresponding darkness comes solely from within. No one would use it to describe watching Michael Corleone either. That’s not a word I would use in describing Michael Corleone.” “I felt a little more - I can’t say comfortable. “I had found someone, a place to go to,” Pacino says. Or that he had, as he puts it now, “found a way.” And lucky for me he felt that way, frankly, ’cause I didn’t.”įor the second film, there was no question about Pacino’s participation (he’d received a best supporting actor nomination for the first film), or that he would be compensated more generously than he was for “The Godfather” (for “II” he got a reported $500,000 plus a percentage, a package described at the time “a near-2,000% raise”). There was nothing about it except Francis. “It’s an impossible part,” Pacino tells Variety. Pacino knew he wasn’t wanted for the role. “They didn’t like the casting,” Francis Ford Coppola remembers, in the as-yet-unreleased documentary “Fog City Mavericks,” recalling the litany of objections Paramount had to the making of the original movie.
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Pacino might have felt the same way, at least at the beginning. And while he expects treachery from Hyman Roth, he doesn’t expect it from Fredo, or his wife Kay, whose confession in Act 3 (aborting their baby) seals what Michael has suspected all along: that he is alone in the universe. First, he is betrayed by people he knows, the ones who ordered his Lake Tahoe home riddled with bullets (“My bedroom … where my children come to play with their toys”). But if any man ever had a push, it was Michael Corleone.
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It has been the common wisdom among fans and critics since 1974 that “Godfather II” is the story of a powerful man’s fall from grace.
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Al Pacino in “Godfather II” is Horowitz at the piano, with a full orchestra backing him up.
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“The Godfather” is arguably Michael Corleone’s story, but the movie is still an ensemble piece, a baroque octet of synchronized and harmonizing parts.