Boy Schultz, THE GODFATHER was so popular it spawned not one, but two sequels; not to mention a DOGFATHER Cartoon Series from DePathie-Freleng!

Rating: 10/10 (22 March 2009)

THE SEQUEL has long been a reliable staple of Hollywood's yearly output. Forgoing any pretense of following a path toward the neither Artistic aspects nor Continuity. The all important a$pect$ of continuing a story from one hit movie i$, wa$ and always$ will be that of Box Office and Profit$; also known as the 'Bottom Line". This is all understandable, for after all, making movies is a business.
HENCE, we generally treated to a parade of inferior stories, watered down story lines and lame ideas that get to the screen only because of perceived relationship to a real, true hit. The roster of examples are loaded with the likes of: SON OF KONG, FRENCH CONNECTION II, McHALE'S NAVY JOINS THE AIR FORCE, RTEURN TO PEYTON PLACE, BACK TO THE FUTURE II, III, IV etc., CITY SLICKERS II, ANALYZE THAT, BELLES ON THEIR TOES, HOUSE OF Dracula and all of those Friday THE 13th & HALLOWEEN spin-offs.
ON AN occasional a rarity occurs. A sequel picture comes along which is not only on par with the original, but in some cases actually tops the original. Titles such as BRIDE OF FRANKENSTEIN, FOR THE LOVE OF BENJI and SUPERMAN II come to mind as prime examples. There are others out there; but for the sake of brevity, we'll hold down the roll call.
ARGUABLY the greatest example of a sequel that surpasses its progenitor is Francis Ford Coppola's production of MARIO PUZO'S THE GODFATHER: PART II; which just happens to be today's subject for dissection and analysis.
PERHAPS the success of the original GODFATHER paved the way for such an unexpected surprise and hit. Critically and at the Box Office, GODFATHER II is considered to be an even greater achievement of film making. The reason probably lies in a maturity and coming of age by Director Coppola .
IN LATER interviews, as well in his commentary that is included on the latest DVD set, Mr. Coppola speaks of the interference and attempted control of his artistic view of the picture was an almost daily bone of contention; especially during the early days of production. There was a great deal of meddling from the 'Suits' from the board room of Paramount Pictures; even extending to rumors that the big company wanted to replace the Director.
LUCKILY for F.F.C. and the rest of us, he managed to survive long enough to get the picture over the hump and into the final editing room. The resulting product came out of the film editors' shop as quite a sensational film; being one that would go down as, arguably, the best gangster film of all time. Surely it could not be eclipsed! THIS UNPRECEDENTED and unexpected success earned Francis Ford Coppola his spurs as a full fledged Hollywood Director. His name would from that point on be mentioned in the same breath as Capra, Ford, Hitchcock, Welles, Huston, Spielberg and Scorsase.
FOLLOWING such prestigious accolades, the Director now enjoyed full artistic control over his projects. Mr. Coppola was able to pull out all stops and do the picture he wanted in his own way. From this point on, the office gang at Paramount Corporate Headquarters could go and pound sand. The corporate monkey of the 'bottom line' was off his back, for good.
SUCH freedom allowed for the drafting of a fine, complex story not only to serve as a sequel, but at the same time it was functioning as a prequel; which is a term that wouldn't come into usage for some years yet. The mounting of having both the story of Michael Corleone's ascension to the heights of the Underworld, as well as the wonderful and lengthy flashbacks into the early life of Don Vito Corleone, was truly a work of genius. By using this dramatic device, the screen play, a collaboration done by both Mr. Puzo and Mr. Coppola gave us a chance to compare the life and times of two generations of the Family and our Nation as well.
WE do know that the working title of the project was announced as THE GODSON and some considerable amount of surgery had to be performed on the screen play; for the character of Frank Pentangeli (Michael V. Gazzo) was a late addition to the starting line-up; as the story had Peter Clemenca (Richard Castellano) in the role of the discontented Cappo of the Corleone Family.
BUT Mr. Castellano proved to be unavailable; due to his insistence that his own writer would be the one to pen any and all of the character's dialogue. Refusing to give in to such demands, Coppola and Puzo wrote the Clemenca character out of the story; due to an unusual case of natural death; replacing him with this Pentangelli guy, who had been previously unmentioned.* WITHIN a short time of its release, GODFATHER II was hailed as a critical acclaim magnet; as well as being touted for its keeping high standards established in the first GODFATHER effort.
AND just for good measure, Coppola and the boys at Paramount had them a real good pitcher and hot item at the all important Box Office. (Just funnin' around with them improper used words & grammar, right Schultz?) OVERALL and with all factors considered, in order to be fair, we'd have to rate this film with a 10+ rasting. So, we will.
NOTE: * As further evidence, note all of the similarities in the two characters; what with his position, his henchman Willie Cicci (Joe Spinnell) and his keen interest & references to History.
POODLE SCHNITZ!!