But the score is sad, and music can often evoke emotion more surely and subtly than story. If Rota’s score had been energetic and pounding, we might see him as more closely paralleling Tony Montana in a better film, Brian DePalma’s “ Scarface” (1983). In attempting to fill the shoes of his father, Michael has lost sight of those values that made Don Corleone better than he had to be and has become a new godfather every bit as evil as he has to be. If the score evokes pity, it is Michael’s self-pity. In “Part II” (1974), we see him lose his remaining shreds of morality and become an empty shell, insecure and merciless. Why should we regret the passing of a regime built on murder, extortion, bribery, theft and the ruthless will of frightened men? Observe how powerfully Nino Rota’s music sways our feelings for the brutal events onscreen.Īt the end of Francis Ford Coppola’s masterwork “ The Godfather” (1972), we have seen Michael Corleone ( Al Pacino) change from a young man who wanted to stand apart from his family to one who did not hesitate to take up the reigns of control. Nostalgic, mournful, evoking lost eras, it stirs emotions we shouldn’t really feel for this story, and wouldn’t, if the score were more conventional for a crime movie. The musical score plays an even greater role in “The Godfather: Part II” than it did in the original film.
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