All 3 Godfather Movies Are Masterpieces, but One Is Untouchable

When it comes to discussing the all-time greatest movies in American cinema, two names will always come up: The Godfather and The Godfather Part II. Francis Ford Coppola‘s timeless tale of family tragedy, legacy, and the deterioration of the human spirit has become synonymous with American cinema, a celebrated duology that is often used as the standard to compare all subsequent crime and drama movies. Sure, the third part, 1990’s infamous The Godfather Part III, isn’t as great as its predecessors, but it remains a riveting and poignant conclusion to the tragedy of Michael Corleone (Al Pacino). Together, they form one of the greatest film trilogies in the medium’s history, and their standing keeps improving with each passing year.

With such high praises, it’s easy to understand why these three movies are often considered among cinema’s indisputed masterpieces — yes, even Part III, despite its numerous and well-known shortcomings. Thus, the question arises: which of these three silver screen triumphs is the best one, the cream of the crop, the ultimate triumph among a group of undeniable masterworks? Chances are, you know which of the three isn’t the best one, but the other two are neck-and-neck. You might have another opinion, and many will surely have a lot to say about the one they believe is the best. However, there’s no denying that one of the Godfather movies is so good that it’s almost impossible to believe it’s real.

‘The Godfather Part III’ (1990)

Image via Paramount Pictures

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As I said, you probably know which movie is not the best in the Godfather trilogy, and that’s The Godfather Part III. Arriving sixteen years after Part II, this coda to the story of Michael Corleone might be the most uneven of the three, but it remains a satisfying payoff to this decades-spanning tragedy. Set in the late ’70s and early ’80s, with an epilogue set in the mid-’90s, the film tells the final portion of Michael’s story, particularly his efforts to legitimize his family business, much to the chagrin of the other mafia dons. Meanwhile, Michael’s illegitimate nephew, Vincent (Andy Garcia), throws the family into chaos with his arrival and eventual romance with Michael’s daughter, Mary (Sofia Coppola).

For years, Part III has been unfairly maligned as the black sheep of the Godfather trilogy. Now, to be fair, much of the criticism is fair: in their review, Variety called it “two hours of exposition and 40 minutes of payoff,” and you know what? They’re spot on. Yet, there’s some real gold in those two hours of exposition, and the 40-minute payoff packs a strong punch, albeit far less impactful than the first two movies. Pacino is brilliant as the weary and nearly broken Michael, finally bearing the weight of decades of violence, ruthlessness, and moral compromise: his spirit is deteriorated, and his body is barely hanging on. For his part, Garcia is a welcome addition to the cast, making Vincent equal parts charming and reckless. Alas, we can’t discuss Part III without mentioning Sofia Coppola, whose performance has been widely panned for years now. It’s fair to say she was woefully miscast, but it’s also fair to say there is a certain ugliness in the way the film’s shortcomings are often solely placed at her feet. In the end, Part III is convoluted and uneven, but it remains a somber and melancholic culmination to a larger-than-life tale that redefined American cinema.

‘The Godfather’ (1972)

In 1972, Francis Ford Coppola revolutionized the industry with The Godfather, an adaptation of Mario Puzo‘s 1969 pulpy crime novel of the same name. The plot centers on Vito Corleone (Marlon Brando), the aging don of the Corleone crime family, and his efforts to shape his youngest son, Michael, into a worthy heir. Although initially unwilling to commit himself to a life of crime, Michael soon surrenders to his family’s influence, going from a reluctant outsider to a ruthless mafia boss who will stop at nothing to protect his empire. James Caan and John Cazale co-star as Vito’s oldest and middle sons, Sonny and Fredo.

The first Godfather marked a distinct before-and-after in mainstream filmmaking. Arriving in the early years of New Hollywood, it was a formative entry in the movement, challenging notions and reshaping what audiences expected from their crime sagas. There is a pervasive sense of dread looming over the film, an inescapable and nearly suffocating notion that everything can change from one scene to the next. Here, Coppola presents the erosion of the soul with such assuredness that one can’t help but feel empty after it ends. Yet, Michael’s deterioration is so compelling, so brutal yet so operatic that it becomes almost irresistible; you’re watching the very destruction of the human spirit, and there’s an eerie beauty to eat. It’s well known that The Godfather influenced how the real mafia behaved, making it one of the few films that actually changed history. Its legacy is nearly indescribable: much has been written about this film, and much will follow still. The Godfather is among those movies that are as good as everyone says, a true masterpiece that you must simply watch at least once before kicking the bucket.

‘The Godfather Part II’ (1974)

Image via Paramount Pictures

Two years after Coppola wowed the world with The Godfather, he did it all over again. The Godfather Part II presents two stories: the first is the rise of young Vito Corleone (Robert De Niro) at the turn of the century, chronicling how he went from a lowly Italian refugee in New York City into the head of one of the most powerful mafia families. The second continues Michael’s rise in power as the new don of the Corleone family, focusing on his efforts to protect the business and ensure his place following an attempt on his life.

The question of whether The Godfather or The Godfather Part II is better has been going on for decades now. You could make a convincing argument for both, but this time, we have to give it to the sequel. Part II is monumental in scope, brilliant in construction, tragic in storytelling, and outright masterful in execution. The choice to juxtapose Michael’s further descent into darkness with Vito’s rise in the criminal world is a stroke of genius, allowing the parallel stories to build towards the same conclusion. Part II is more operatic, more detailed in its exploration of Vito and Michael’s psyche, and therefore far more tragic. There is a solemnity and melancholic inevitability to the story, the sense that ambition will always come first for the Corleones: they will get everything, only to lose it all because, in a world of absolute power, there can never be absolute trust. Here, commitment becomes imprisonment, and family is a life sentence. In the end, The Godfather Part II surpasses its predecessor in every possible way, presenting a heartbreaking tale of power, a beautiful calamity that is, quite possibly, the greatest achievement in American cinema.