This long read is dedicated to Debra, Lavinia and everyone else, who kindly expressed their wish to see it posted.
I know, I promised to write it almost a year ago. I had little time and couldn’t help it, but I wrote my thoughts from time to time, and it grew longer and longer. Finally I still decided to leave it as it is, listening to the advise of my friends, who promised to bear with me.

If someone will not only read it through, but also find something that could be improved, especially language – grammar, unintelligible style, or a comma in the wrong place , or something – please notify me by PM – I’ll appreciate any friendly help and consider it a service done to me personally.

Dear Debra! I don’t know how soon you shall be able to spare time to read all this, but I hope whenever you do, you’ll enjoy.
I’ve divided it in several parts, because the BB won’t let me use as much smilies as I want in one message.
And mind that it contains LOTS OF SPOILERS!!!

Part One.

So, why do I like it? Not only for these incredibly conveyed colors of bitter and painful mood, of inevitable suffering that any human being feels being forced into the merciless reality.
There are chapters and there are CHAPTERS. Those last ones tell you a lot about character, human nature. It may be a slight remark, or a detail unperceivable almost, or a dialogue which helps them open. This chapter says very much – about their inner life and nature. And most important – it gives priceless hints on their future. It has as much hidden messages in it, as none other in the whole book. If those directors, who dared writing and filming sequels to “The Godfather”, read this chapter well, they would do it better – and differently. I wish they had.

The future of Family is secured – its business is legitimate with his move, and he lives normal life. He owns Construction Company and has healthy interest in politics. Obviously with Michael’s brains, Puzo doesn’t expect him to make any outrageous flaws in business. His organization is unchallengeable, and that means much. A year of political maneuvering made him the most powerful family chief. He doesn’t need Roths or anyone as mentors or partners. He is first of them, and being very careful he will use this power in his interests, with strategy, with cunning and wisdom. He is obviously too smart to underestimate any of his partners and enemies. Many years must pass before any family would gain force and wealth enough to pose a threat to his absolute power, but then, with that strategical vision which he demonstrated in his dealings with 5 Families, he will take necessary precautions to prevent such a rise of any of them .

The fact that he doesn’t want to “interfere publicly” tells me that, like Vito, he will choose to avoid publicity. Even positive, like charity. He will do things quietly, gaining more and more friends and debtors in different structures for the benefit of his children, but never try to attach public attention to himself. On the contrary, he will do everything not to have his name openly mentioned. At first, he is not vain. He always tended to privacy. Even when his father had unknown plans for him, whatever they were, and of course could help him in any career (or he could do any career himself with his own abilities, except maybe political, because his father was reputed to be linked to underworld) he chose the quiet life of mathematics professor.

The second reason is that it is much more prudent way of doing things. His main goal in life is not any abstract legitimacy. Puzo made it obvious that he has big plans for his children’s career and welfare. This is more important for him than any money, any expansion or power. In fact, he needs money and power to achieve this goal first of all. And now, when his name is well known in the criminal world and of course known to FBI , his attempts at open social activity will not be good for his children. Trying to legitimize himself is useless, he is too smart not to understand it. He personally cannot be legitimized absolutely, but he is not out of the law – he is above the law, and terrifying power that he possesses will be used for his children’s benefit.

He thinks at his father’s funeral: “He would follow his father. He would care for his children, his family, his world. But his children would grow in a different world. <…> He would see to it that they joined the general family of humanity, but he, as a powerful and prudent parent would most certainly keep a wary eye on that general family.” A pretty fair description of their future. And as a prudent parent he will escape annoying the official society, reminding about his name and alleged crimes too often and directly. Even now, having legitimate business. Like Vito, he will chose to stay in the shadow, so his kids will not be linked with him too immediately and his reputation will not mar their prospects.

But of course he will keep everything under control. The phrase about his children being brought up in the Catholic Church is meaningful. “Michael himself had not been too pleased by this development. He would have preferred the children to be Protestant, it was more American.” It shows what terrifying brains he’s got. Not only he wishes his children to achieve much, easily, without anything standing in their way. Vito had the same wish, but he didn’t succeed. It says that Michael knows all the ways to do it, has all the means necessary. He didn’t grow up in New York and study in New England for nothing ! He knows this country and it’s society to petrifying degree! He acquired a penetrative insight into the nature of society as well as into the human nature; he studied all springs and wires that set it in motion. He knows how to make his children’s way free of problems and will do everything to help their progress, even their religion was to be calculated on pleasing the snobbish part of society and clearing their way to success.

Everything Michael does and says in the end of the book shows that he acquired keen foresight, more that that, he calculated and thought for many years, if not decades, ahead. And all steps he’ll take will be thoroughly considered from this point of view – the success of his children, his family’s future. He will do nothing rush, nothing that might lead to serious problems in Family position. He will expand his business carefully and legitimately. Even if he’ll need to whack someone, it will be done in the most accurate way possible.
But before doing it he has to solve the most knotty problem he had – to return that very family he values so much.

Part Two

The really great mistake is made already. The most important event in Michael and Kay’s relationship happened one page earlier – Michael’s lie and her witnessing him receiving homage, when she saw somehow from his face and appearance that he killed Carlo, that he really was capable of it.

The whole novel is a marvelous piece of direction. It is a preparation, and expectation, until the end, and looking back we may see how every detail meant something before everything happened. He was not only preparing the massacre of his enemies, he was trying to build such a trust in his family that could stand off any result of this “fatal time”. He anticipated that it would be difficult for Kay to accept the most terrible thing he had to do – the assassination of his sister’s husband. He did all he could to create such ties between them that could help him not to lose her after the deed.

There’s almost a complete chapter earlier, dedicated to all those subtle things with which he carefully, step by step, endeared himself to her. We read that 2 years of their marriage made her love him more. That “she loved him because he was always fair… never arbitrary even in small things”, and I almost see Mario’s ironical grin saying, “and he took care that she should notice it.” Then, he made some concessions to her wishes, and carefully led her to believe that “she was the only person in the world who could bend his will” , and that was even more clever, because it was flattering.

And then, the operation. It was brilliant. At first, he makes it a badly complicated business. He won’t do it despite all the obvious reasons. Everybody wishes it, his mother is constantly after him, all family begs him to do it, but he does not even hear them. He raised the price of his concession ten times beyond its worth. He tortures everyone, manly suffers from dripping nose, and waits for his best moment. And he chooses the very best possible moment in the world, that stronz’ ! When she just gave birth to her first child, and lies in a hospital so happy, so weak and mollified, recovering from recently escaped pain, her heart so open to every kind of impression, so sensitive – right then he comes in and asks, trustfully and quietly: “Do you want me to get my face fixed?” What Son Of a Bitch! Poor thing is stunned with gratitude, of course…

But, as it always happens, everything went to hell because of ill luck, of accident. If viewed closely it was not strictly accident, it was overlook of his security guards. I think as Neri was sent to take over Tessio’s regime, there was no one to look after them . Anyway, Connie simply could not be admitted to his house without his permission, and doors had to be closed as someone comes into his study!

His lie was not the best decision, but who could know that she will be able to witness the homage? It was a case of emergency, a desperate effort made to spare her some pain if it is still possible. It was not. And what he feared most came truth. But, as always in life, it didn’t mean that nothing could be done about it.

Part Three.

What would you expect simple male to do? Shout, run after her, beg her, forbid her, try to persuade her? Sure, and it would remind us of their parting scene in GF2. I have a reason to believe that one of FFC’s mistakes in GF2 is their primitive relationship. Michael was not that stupid to behave in such blunt ungifted way. Needless to say, being so penetrative and subtle he would never let their relationship reach such a state. He’d notice every look and read every thought that she dared to conceal from him, and take care of it beforehand. FFC obviously didn’t read this chapter attentively.
Manipulative Michael never did those primitive things. He knew her too well for that. And with all his brains and cynicism, in this last and most brilliant chess-game that we witness, he played her like a violin ((c)Turnbull).

Kay was not Sicilian, she was a product of a totally different culture, and he never missed this point. On the contrary, his excellent strategy was chosen with deference to it. Kay was independent, self-willed and proud. She was frustrated and offended, because he lied to her and “betrayed her”, as she later told Tom. Closeness between her and Connie that Michael couldn’t destroy for many reasons, her patronizing role and behavior towards Connie and Carlo made her feel very uneasy, almost responsible in some sort of betrayal. And lie, of course, was a personal offence. She was less sensitive to murders than he supposed, she left him because of that lie, not the deed.

In her furious state she takes their two boys and goes to her parents’ house “Without a word to anyone, without really knowing what action she meant to take”. She could not have definite plans, because they depended on Michael’s action in response. She was waiting for his move, stubborn, bristled up, entrenched, working herself up before the last critical battle. She was getting ready to any possible development – open war, threats, siege, persuasion – anything except what he really did with her, except there being no battle at all.

“Michael had immediately understood. He had called her the first day and then left her alone.”
To be sure he understood – he was ready for that. Great minds count on every possibility, even worst. He was not shocked, despite her expectations. He was not even surprised! He called her in a businesslike manner, I believe, more to check where she was and to make sure that she and the kids were OK. And then – he left her ALONE! And that was a display of true strategical genius.
In all her rage, resolved to fight against him, bravely defending from him her freedom, independence and children, she suddenly found herself not only disarmed, but deprived of the very purpose to fight for. With one simple move he became the master of situation.

Part Four

But he is not only masterful. He is excellent. If he asked her to return, he would lose her, it would wake all former resistance in her soul. If he just gave her freedom she wished, he would still possibly lose her, she might simply accept it. But he did the best – he left her in a state of absolute uncertainty. You may imagine her feelings: completely lost, alone in her hick town, isolated from the world, without any chance to talk to someone about all those things on her mind! I believe that “not a word to anyone” implies that she didn’t let her parents know what was going on. It was very much like her.

We may easily figure out her mental processes during the next few days. For the first 2-3 days she’s just enjoying unexpected liberty, resting and rejoicing in being alone. She has plenty of time to think things over. And finally, after she had repeated to herself all that she would say to the son of a bitch (and even more than that ) a hundred times, she inevitably cools down and changes subject.
She begins to think about the other world, where she had left all that was her entire life and interests for so many years. She cannot help feeling curiosity about everyone – how’s Connie feeling? Is there a serious war after all those murders she read in papers about? What are Michael, Tom, and Mama doing? Day goes by day, breakfast, dinner, supper, breakfast, dinner… Nobody calls her anymore. She wonders if they forgot about her existence. There can’t be more annoying state of things than this – when nobody needs you, and cares what you do. She felt justified to expect Michael to creep up to her begging for forgiveness, or, at the very least, to propose some settlings of their life. He cannot leave her like that, without any last talk, without having things out! And could she mean so little for him that he can’t find 2 minutes to talk to her on the phone?!

She begins to feel nervous. She wants to crash the silent telephone with something heavy. She stays close to the room where it hangs to be the first one to pick it up, but hours pass one after another, and it doesn’t ring.
OK, she is free now. Nobody forces her to anything, but it looks pretty much as if nobody wished her back at all. It ain’t da way she wanted it! She wished to gain independence as precious trophy of her victory over Michael, but now she doesn’t have even pleasant remembrances of defeating him. And what the hell is she going to do with her independent life? Return to work? But in those years out of practice she must have lost many of her professional skills, besides her youngest son is just a baby and needs care. Live in this hick town with nosy housewives peering out of windows and gossiping about her ? But then, where else can she go? Does she have anybody really close in the whole world except parents - and Michael? Anybody who would care for her half that much?

If you add to all this the obvious necessity to wear all day the mask of complacent serenity, and talk polite nothings, to let no one suspect that something was wrong, and you’ll easily see that at the end of the week she was in a wild state, simply dying to talk to someone without reservations about that very hated Michael she run away from!

Michael keenly penetrated all her possible feelings in such situation. He is in no hurry. He waits calmly, as if he was gradually warming her on the stove of her own thoughts, with sadistic pleasure. He always waited, never did anything rash. It must have been his leading principle - to act only when the time was exactly ripe. He gives her whole week for consideration.

And then he makes another absolutely brilliant decision. He doesn’t talk to Kay himself in any fashion. He doesn’t remind her about his existence and deed by his sight or voice. He sends Tom Hagen. That is a subtle choice, because Tom is not a Sicilian. It will be much easier for Kay, in the painful moment that is awaiting her, to give vent to her feelings in company of someone absolutely trustworthy, but at the same time non-Sicilian. He knows Tom well enough to trust his diplomatic skills and mental subtleness. He doesn’t need to give him explicit orders, the slight hint is enough. Tom understands everything as well as himself.

We don’t know what Michael said to Tom except the words Tom later quotes to Kay. Maybe they discussed the details, but it might be just something like “Tell her she is free etc, and I’m waiting you all for supper.” Maybe even less than that. Anyway, it was enough. As Puzo wrote before about Genco, “…with that shrewd insight that a consigliere must have, he realized the true wish of his Don.” Tom was very smart and manipulative. He didn’t live so many years in the Corleone family for nothing. When he talked to Woltz in the beginning we had reasons to marvel already. But this is a very special, delicate task…

Part Five.

The very beginning of their talk confirms my suggestions about the state of her mind. She says, “cruelly flippant”: “Did Mike send you up here to threaten me? I expected to see some of the ‘boys’ get out of the car with their machine guns to make me go back.” It sounds, if you read it repeatedly, not as if it was just a joke. Why should she say such thing if it was not on her mind before? And there’s a certain bitter, almost offended intonation… You have no recourse but to feel that she is greatly annoyed and really disappointed that he did not send ‘da boys’ after her! Hagen is her last hope for any particular attention from Michael, the last hope that, finally, someone will condescend to threaten her. But Michael doesn’t want to give ‘da boys’ trouble, as well as to give her opportunity to despise and reproach him all the rest of her life for trying to use force against her.

Tom doesn’t want, however, to listen to “juvenile crap”. “For the first time since she had known him, she saw Hagen angry.”
In fact, he waited for her to give him cause to show anger. He “was not gentle”. Among other purposes, he came to give her considerable moral spank. He had to convey, as indirectly as possible, that her husband was defending his family, her, their children, risking his life in a real cruel war, in which people were killed, and while he was in such trouble and danger, she found proper to call him to account and preach theatrical morality, instead of supporting him; and after all that juvenile crap she found it proper to get offended that he doesn’t want to report his every step to her as if she had any right to pose herself as a judge to him! That she forgot all her duties, and all feelings except her own, allowing herself to indulge her wounded pride at the expense of her and her children’s family that she was about to destroy without even a second thought.

But of course he didn’t mean to tell it this way; it was too dangerous for his main mission. And he chooses another tactics. After shutting her up he holds pause and begins from a very distant end. He continues neither the topic, nor the tone she introduced. Tom competently avoids the fact that he was sent by Michael with a message to her. He almost lets her to forget about the main goal of his visit. He does it easily, but subtly: by starting to talk with her not as a messenger, but as a person who cares for her and is concerned about her troubles. When “he asked quietly, “Why did you run away?”” It was not an inquiry from a lawyer, a representative of a criminal family, or anything. It was a personal inquiry, originated from affectionate, compassionate heart of her brother Tom . Excited as she is, she swallows it without suspicion.

After the long week of thinking she is glad to unburden her heart, and she speaks her resentments out. But she speaks too assuredly and positively about Carlo’s murder, he must let her know that it cannot be permitted. He says: “I don’t know what you are talking about”. She “turns on him with now-justified rage.” This definition, ‘now-justified’, as every word in Puzo’s best chapters, means much. She also waited for a cause, a justification, to give way to her rage. She restrained her feelings too long; she must relieve her suppressed emotions. Hagen doesn’t mind, he understands. Who knows these manipulative people? Maybe clever Tom said that irritating phrase intentionally, to help her to discharge some of her anger, transferring it from Michael on himself? After all, as it was said earlier in the book, “It was part of his job to act as a lightning rod for resentments”, earned by his Don!

Part Six

After walking for a long time in silence he begins. I believe silence was necessary to review and prepare his arguments, to choose the best of them for this situation. He comes to the most difficult part of his mission, so he has to take breath. It’s hard to anticipate how she will take all that he intended to tell her.

Supposedly, Michael didn’t tell him what he could reveal. Of course Michael understood, maybe even gave him a hint, that he must reveal something to her. To justify his deed it was obviously necessary to disclose Carlo’s role in Sonny’s killing. But how far he may go – it must have been left to his own discretion. Tom was penetrative enough to know how far Kay was to be trusted. They both could not know for sure in what state of mind will he find her, or how their talk will turn out.

Not only Mike trusted Tom’s prudence that much. I think he figured that if he will tell her a bit more than he obviously could be supposed to, and maybe even let her know it , it would be for good. It is so flattering for human pride to know a little more than it is permitted! To be secretly trusted with someone’s dreadful mysteries! She suffered from not being trusted enough, and, to be mollified, she was to be trusted now. Both knew her long and well enough. Michael trusted her with some of family secrets in the beginning of the novel, and later, proposing her marriage. They knew that she was closemouthed and honest, not the one to run and inform the police, as she said once to Michael.

Another aspect is doubtful: how far the part concerning Vito’s having no heart and strength anymore to avenge his son was discussed between them. Of course Vito told Tom himself: “There are things that may have to be done that I don’t want in any way to be responsible for.” And Tom figured it all out, as we remember. But to talk with such confidence about the whole thing he had to know details that only Michael, who discussed the subject with the Don privately and knew his disposition and thoughts, could tell him. For example, the fact that this was the reason why he retired and made Michael his successor. Vito told it to Michael when they were alone. Possibly, Michael could tell part of it to Tom sending him to New Hampshire, for reasons analyzed below. On the other hand, Tom was smart enough to figure it all himself and didn’t need any proof for a court of law.

But I strongly believe that Michael didn’t tell Tom that he will be forgiven for disclosing too much. It must have been obvious for him that Tom will tell her considerable part of the truth – Michael’s own orders and wishes put him in a situation where he had no other choice . But he didn’t say that he wouldn’t mind if he goes too far. That enables Tom to say easily that he has no order, not even permission from Michael to discuss such subjects, which was necessary to convince her in his absolute sincerity, and by the way it won’t give Kay any possibility ever to discuss these subjects with Michael himself . And why not to put some fear of God in Tom? Why not let him have a vulnerable spot? Son of a bitch liked to attach strings to people, even if it didn’t seem necessary right now. Just in case…

Part Seven

“You have no way of really knowing that’s all true. But just for the sake of argument let’s assume that it’s true. I’m not saying it is, remember. But what if I gave you what might be some justification for what he did. Or rather some possible justifications?”

Remember Vito once saying – “We don’t have to give each other assurances as if we were lawyers”. Well, Tom needs assurances, because he IS a lawyer, and lawyer never dies in him. What he says is a sheer formality, they perfectly understand each other. It doesn’t even really protect him from anything, but still for the peace of his mind he needs it. Kay even allows herself a pleasure to make a contemptuous remark about “his lawyer side”, but as long as she doesn’t object, he doesn’t mind being called names.

As a good lawyer he knows how to defend and even justify Michael’s deed. To defend his lie is more difficult, and clever Tom simply avoids it as long as he can, positioning it as nothing important in comparison with the other things he is talking about. He begins with his best point, the point that must have the strongest impression on her mind. Stunned people are always more governable, or predictable, at least.

He tells her that Carlo betrayed Sonny, fingered him, that his beating Connie was a deliberate plot to kill Sonny and, still more disgusting, that he was paid for it. She doesn’t answer. It seemingly never entered her head that Michael could possibly have some intelligible reason to kill Carlo . With this argument Carlo becomes somewhat less of a poor innocent victim, and Michael less of a murderous villain. But his goal is to make it seem quite the reverse. However bad she felt about Michael having his brother-in-law killed, knowing that her poor sheltered Carlo betrayed to assassins his own brother-in law, and for much less excusable reason, will help her overcome her former pity. After stating Carlo’s guilt, all he has to do is to show that Michael was obliged to do it, that he had … no other choice!

His next point is also very well taken. This phrase is a flash of genius: “And what if the Don, a great man, couldn’t bring himself to do what he had to do, avenge his son’s death by killing his daughter’s husband? What if that, finally, was too much for him, and he made Michael his successor, knowing that Michael would take that load off his shoulders, would take that guilt?”

We don’t know if Michael, or someone else told Tom, or maybe even he heard Connie’s hysteria and charges against Michael. One of them was: “All the time he knew he was going to kill my husband. But he didn’t dare while my father was alive. My father would have stopped him. He knew that. He was just waiting.”
Now Tom shows Kay that in reality it was not like that, that the Don felt it to be his duty to kill Carlo himself. But it was a hard duty for him, it would wound his loving heart to be obliged to do it, and Michael, The Kind, Devoted, Self-Denying Son, liberated him from this heavy load. That it was not only his duty as Sonny’s brother, but a Sacred Duty, a Testament from the most beloved person in the world, Sanctified by Death. And that Michael, in fact, Sacrificed his own soul and eternal life to perform the will of his father, because he took awful sins upon himself to spare Vito from answering for this deed. How damn romantic, isn’t it?

And what is great – all that he said is real truth, not even half-truth! Of course there were other considerations, Michael had killed a lot of people for his own reasons and was by no means less willing than Vito to perform the vendetta. But after all it doesn’t matter – Tom is not obliged to tell her all the facts he knows in the world – is he? He says exactly what is necessary, neither more, nor less.

Part Eight

“It was all over with,” Kay said, tears springing into her eyes. Everybody was happy. Why couldn’t Carlo be forgiven? Why couldn’t everything go on and everybody forget?”

This sounds as another portion of naïve juvenile crap, but I believe it is rather the last weak attempt to escape the bitter truth, to protect herself from being waked into the merciless reality from fairy dream, where she lived in her own, clear and proper world, where everything could be right or wrong, black or white, and the choices were so simple… But it is too late; the cold wind of the cruel big world outside had made its way through her pink curtains already. Her own tears, springing into her eyes, contradict her words. She doesn’t need to be explained obvious things, she realizes too well now that everybody was NOT happy, and there are such things in life that you can never forgive or forget.

It is painful for her to accept that many things she tended to believe in were, in fact, castles in the air. But Hagen knows not to interfere where he cannot help. When they reach the brook and sit down on the grass, he allows himself to say only this: “In this world you could do it.” This world is not only the world of tree-shaded brooks; it’s the imaginary world she lives in. He has to explain her yet that the real world is not only cruel, but also a dangerous place, where you can’t forgive a traitor and get away with it.

She helps him to introduce this topic, saying: “He’s not the man I married.” Who else then, let me ask? Tom doesn’t bother to point out that if she didn’t see real Michael behind the image created by her fantasy, it is her own fault, not his. He proposed her to marry no one else but himself. And she was perfectly aware, whom she was marrying.

Tom doesn’t waste time on it, because as time passes she will recall it herself. Right now he sees an opportunity to tell her the most important things he has to convey, and uses it immediately and brilliantly.
The only way for him to make Michael’s lie excusable is to lead her to believe, on one hand, that he had things of far greater importance to his family’s safety on his mind at the moment, to indulge her didactical whims and bear two hysterias in one hour , and at the other hand, that he loved her and his children so much, that to prevent the loss of his family he would at that moment do anything in the world, even lie to her. Which, of course, under any circumstances of less importance would be absolutely impossible. Both surmises really have some bit of truth in them (God knows which one has more ), but the last, and more pleasant, was taken care of by Michael in his orders. The first, and unpleasant, had to be told by Hagen only, and strictly as his own opinion.

Part Nine.

“If he were, he’d be dead now. You’d be a widow now. You’d have no problem.” Kay blazed out at him. “What the hell does that mean? Come on, Tom, speak out straight once in your life. I know Michael can’t, but you are not Sicilian, you can tell a woman the truth, you can treat her like an equal, a fellow human being.”

This cry of soul betrays her real feelings most of all. Sitting here for a week, completely alone, she invented so many elaborately offensive accusations, and now, having finally someone to hear her out, she cannot resist giving away some of them, at least. They really have not much to do with Hagen’s replique. It is a right observation that Sicilians never say anything straight, and Tom, being brought up in Sicilian family, adopted the manner. She was “on her way to becoming a Sicilian” herself, and it was not the main annoyance to her in what he said. More than that. Ironically, this phrase is one the most clear ones pronounced by him in this discourse. Her aggressive request to speak straight and tell the truth is also irrelevant and misplaced; in fact he was already speaking straight enough.

The real source of her irritation is thought that Michael didn’t tell her the truth, because she is a woman. (She is wrong; he lied to her not because she is a woman, only because he was afraid of her reaction. He considered her as somewhat better person than she proved to be , expecting her to be much more pained by his deed.) And the most important - that he was not treating her as an equal.

Her “blazing out” helps Tom very much, justifying him in taking more liberty of expressions. In fact, in all their talk she makes one tactical mistake after another. She had a week to prepare, and used it wrongly. She kept pondering on how good, right, blameless, unjustly offended and ill used she was, and how guilty Michael is, and what did she want to tell him about all she had to suffer because of him, etc. Instead of indulging such feelings she might, (as I think Michael would in her place ), think of the future. Try to figure out how he might play it, what arguments could he use, how could a man like him think and act, what were his leading purposes. But she seemed to be so self-involved that she couldn’t guess what to expect from her own husband, much less able to calculate how to act in various possible situations and what might be the response. As the result, she has no strategy; she is perfectly unprepared to any turn conversation takes. She doesn’t lead it in accordance with her interests and intentions, she betrays her thoughts and feelings with her every word, being governed by immediate reaction, and makes it most convenient for Hagen to manipulate them as he chooses.

He takes another pause – a long silence. Unlike her, he has too much responsibility for every word of his to say something on the spur of a moment . After all, “women can afford to be careless, men cannot”!
“You’ve got Mike wrong. You’re mad because he lied to you. Well, he warned you never to ask him about business. You’re mad because he was Godfather to Carlo’s boy. But you made him do that. Actually it was the right move for him to make if he was going to take action against Carlo. The classical tactical move to win the victim’s trust.”

The first part of this speech is a considerably clear message. He reminds her that his refusal to tell her the truth that she resents so much was the natural response to her own violation of promise, of a serious agreement they previously made, on which their marriage to some extent was based. Or is it OK when you are breaking agreements, and only others are answerable for carrying out their obligations before you?

But the other part of it! Why should he say a thing seemingly provoking to Kay, describe to her Michael’s cynical reasons in this, truly the most insidious, part of his dealings with Rizzis? The meaning of this phrase was the most difficult of all to figure out. But, as Tom once said, “I put on my Sicilian hat, and finally figured that too.”

Part Ten.

When Kay had first poured her resentments out, in the very beginning of their talk, she pronounced a charge against Michael that couldn’t escape Hagen’s attention: “He made a fool of me when he stood Godfather to Connie’s boy. He betrayed me. I can’t love a man like that…” etc. The accusation of the murder of his sister’s husband follows only in her next speech. It seems as if the fact that he disregarded her feelings was of more importance to her than the murder itself – quite naturally .

Now Hagen reminds her that Michael’s action was the result of her own net spinning. In her elaborate plans to bring Michael and Carlo close she pretty much disregarded his feelings herself. Or is it OK when you are doing it? She perceived that he was cold to them, even to his beloved sister, and reluctant to associate with them more than necessary. Yet for several years she kept intriguing behind his back in favor of Rizzis, helping them to flatter and butter him on every occasion. She was forcing that intimacy on him despite his obvious dislike and resistance. Doing that, did she have any respect to unsaid, but obvious wish of a man who lost his brother because of them, one way or another?

She was perfectly aware that she didn’t know all that Michael had “under his fingernails” about that family, but it didn’t hold her back from pushing their policy, using his trust in her, his love for her, his readiness to do anything for her etc. quite shamelessly… Or is it acceptable from you ?

I don’t mean to say she was all the way stupid, but she was occasionally terribly tactless.

Connie had enough of Sicilian cunning to understand the value of Kay and use her as their insider in Michael’s home, to strengthen their position and speak in protection of their interests. Only it was very bold in both ladies to think that all their politics may remain unperceived and unseen through by Michael. I believe he was already sick from discussing Carlo’s merits even at night in his own bed , and when she came to him with this new “clever trap” for his better feelings, invented somewhere in Rizzi’s house, he steadily, openly refused. Did she think a lot? Was she careful, attentive to him? No. She insisted even after his positive refuse, in the most direct and stupid way, “I don’t often beg you” etc. “She could see that he was angry with her for insisting”. She had to expect it, after insulting his intelligence!

Hagen says to her now that, being concentrated on her own point of view and feelings, she misses the interesting fact that other people may have other points of view and different feelings. And from Michael’s point of view Carlo’s attempts to gain his trust, and Kay’s meddling on his side, might seem not so very pleasant, considering that Carlo was the traitor and future victim (a good word for her to learn, by the way). As the result, being already obliged to be wary and suspect everyone, he had to be reserved even in his own bedroom, because his wife volunteered to be Rizzi’s spy and influence agent.

And now, after spitting on his wishes and trying to push and force him against his will and judgment, she cries that he betrayed her because everything was not as she wished? Looks like double standard! After all, if she allows herself to have always some secret thought, why can’t he do the same and use her primitive attack in his own tactical interests? If not Connie’s hysteria, it might be even a good alibi in her eyes, had she suspected anything.

In fact, what Tom says to her now is not calculated on being immediately understood. Now she is too overcome with emotions to see the recent past clearly. He counts on future, hoping that this “straight talk” will help her to start a long process of thinking, and as the result of it, she will accept the fact that she was not at all irreproachable herself, and begin to analyze her own mistakes in her life with Michael. Then, if she is smart enough, she will derive a very good and helpful lesson from this situation. Didn’t you already guess how the lesson sounds? “Don’t ever take sides with anybody against the Family again!”

Part Eleven.

Before continuing he checked her reaction. He asked, if it was “straight enough”. And when she bowed her head, he said: “I’ll give you some more straight talk.” That means, prepare for worst.

He proceeds to the most important message, and gives it pitilessly straight: “After the Don died, Mike was set up to be killed. Do you know who set him up? Tessio. So Tessio had to be killed. Carlo had to be killed. Because treachery can’t be forgiven. Michael could have forgiven it, but people never forgive themselves and so they would always be dangerous. Michael really liked Tessio. He loves his sister. But he would be shirking his duty to you and his children, to his whole family, to me and my family, if he let Tessio and Carlo go free. They would have been a danger to us all, all our lives.”

This is the top of brilliance.
First of all, he shows her that while she was about to destroy his family because he said one word instead of another, with easiness of a class mistress in a privileged boarding school for young ladies, punishing a not absolutely sincere young creature, whose notions and manners are yet to be improved by this honorable institution, he was in non-imaginary mortal danger. Moreover, all family was in danger, including her children and herself.

That despite her scornful opinion of his morality, he had much better knowledge of the real life and was much better suited for it. That he had a great responsibility in this life, because the lives and welfare of so many people of his world and their families depended on him, and while she was talking and preaching, sitting near this beautiful brook, he was acting, taking care and thinking of them all, because he knew how much misery to all those innocent people a single mistake, a single wrong move of his might cause. That while she was arrogantly debating whether she would humiliate her pride too much by stooping to stay with him, he was risking without hesitation, and would sacrifice if necessary, his life and his soul to defend her and her children. His only guilt seems to be that he did not hesitate about means necessary to defend those who were dear to him.

Hagen answers her question, why couldn’t Carlo be forgiven. Because forgiven traitor will grow confident and betray again. That the poor dear Carlo she had taken so much care of might easily become source of danger for their lives. Had only Barzini been a little more stupid and chose to use Carlo again, and she might well be accessory to her husband’s murder, being influenced by Rizzis and blindly helping them, thoughtlessly meddling in situation that she didn’t understand.

But he tells her more. He tells that even the most trusted man in the organization, Vito’s closest friend and best soldier, in this terrible situation turned traitor and set Michael up for killing! And these people she proposed to forgive, trust and live happily with as before? Of course what he did was cruel, but let’s face it, it is a cruel world full of cruel people. And she might very well thank God that there was Michael near her, and he had enough brains to figure everything out and never be governed by her opinions and wishes! And she might thank God for being a woman not treated as an equal, since it was not necessary for her to be cruel herself to defend her children, there are men in this world to do hard and dirty work and protect them.

He lets her also to understand that it was by no means easy for Mike. That he liked Tessio and loves his sister, but their feelings, and his feelings, it was his duty to sacrifice to ensure the lifetime safety of herself and their children, and by the way everybody else’s safety, including Hagen himself and his children, for example… And if she didn’t get his point yet, it was all done for her sake, alone! You got that? “Everything I do, I do it for you!”

And after such sacrifices, such difficult and dangerous work finished, such hard duties fulfilled, when he is so exhausted after having people killed for the whole preceding day, and had to bear Connie’s hysteria, she starts questioning him ungratefully asking to tell her that it is not true!

One more thing is conveyed in all his speech indirectly: that Michael was not personally responsible for this situation. Vito’s business, Vito’s revenge from past war, Vito’s enemies waiting only for him to pass to kill his son, even his old friend as a traitor – everything came from family’s past.

Tom really does a great job. Everything that could possibly be squeezed out of every situation, every imaginable reason in Michael’s favor is either said or indirectly conveyed. And every subtle hint meant to shake Kay’s assurance of her own irreproachableness is made without insulting her. I’d pick Tom to defend me!

Part Twelve.

“Kay had been listening to this with tears running down her face.”
I believe she is getting the message, even if not entirely. Hagen’s arguments served to show the whole situation in a light so different that she was completely unprepared to react in a calm way. Such a change in the state of things you’ve got used to is a hard thing to accept, that’s why she is unconsciously looking for some defect, something to found her disbelief on, that would enable her not to accept it or take into consideration. She makes the most obvious supposition:
“Is that what Michael sent you up here to tell me?”

That’s exactly what comes to any mind prepared for nothing better, when it begins anxiously to seek some way out that would seem right and at the same time please the person’s wishes. If Michael had sent Tom up to tell these things, then they come from Michael, and she is free not to believe him, explaining it all to herself as his attempt to justify his crimes and get her back with the kids by any means possible. If Tom was ordered to tell this, he did it not for the sake of truth or from any concern for herself, but only in the interests of Michael, and therefore it should influence her opinion and decisions no more than any direct assertion from Michael’s mouth, which, as she knows now, might be a lie. But Tom leaves her no chance for these psychological tricks:

“Hagen looked at her in genuine surprise. “No”, - he said. ”
As we supposed earlier, Michael took care that his surprise would be genuine.

And here is the place where all Michael’s strategical genius comes into effect. The only phrase that he officially sent as a message to Kay is worth a whole library of works about diplomacy.

During the whole book we witness gradual development of Michael’s various talents, and Puzo masterfully shows us how he acquires, step by step, more insight into human nature, and his knowledge of it and ability to manipulate people around him becomes more and more frightening. He needs every time less words and efforts to do it, and this last, and the most masterful, display of his manipulative genius is simply stunning. He achieved an attitude as close to perfection as could be imagined.

“He told me to tell you you could have everything you want and do everything you want as long as you take good care of the kids. – Hagen smiled. – He said to tell you that you’re his Don. That’s just a joke.”

To understand the brilliance of this phrase we must consider Michael’s situation. His only wish is to have her and the kids back. But the fact is that she positively decided to leave him. If he asks her to return, if he tries to influence her in any way, it will give her justification to rebel against any reasons and persist in leaving him. She is a strong person, and being strong himself he understands that only her own, independent decision can make her return. He must remember how he resisted every Vito’s attempt to make him stay in the family, and when he joined it finally, it was his will, not a concession to anybody’s wishes. So, to enable her to think that she makes independent decision, he cannot use any means of persuasion, no arguments, no reproach or request, not even a hint on his wish to have her come back.

He cannot flatter her; he cannot talk about his love for her, about missing her etc. It will also give her reason to suspect that he only wants to make her return. He cannot apologize or in any way humiliate himself, because when she is made to return, nothing has to change regarding her attitude and behavior, she must not feel any right to consider herself a winner, to expect any change in her position, ask him more questions than she was ever permitted to or try to judge and influence him.

In fact, any reference to their relationship seems dangerous. And he, with the simplicity of genius, solves this riddle: he avoids it entirely. He never mentions anything related to them two, he says not a word about their love, or hatred, trust or distrust, about their being together at all, in past or future. He avoids the question of their parting. As if it was not a point he wished to talk to her about. He accepts the fact that she left without discussing it, without making any tragedy of it, or expressing any kind of his own feelings, without permitting or forbidding her to go. Just taking it for granted. He nicely, but at the same time without a shadow of flattery, treats her Anglo-mentality by letting her to understand that nobody puts her right to leave him and go her own way into the smallest doubt, and her decision, whatever it is, is respected.

This way of letting her go is very subtle. He doesn’t let or permit anything; it would sound arrogant, as if she was a slave and property to be permitted to do what she wished. He doesn’t say, though, that he liked her decision, or that he agreed that she had a right to leave him and enough reason for it. That would mean that he pleads guilty and admits that he is wrong, when he’s just doing what he considers his duty, and may be secretly very proud of. He says, shortly, that what’s done is done, they both understand everything well enough. That he’s not going to apologize, or even discuss it. And if she decides to leave him, he will never stoop to hold her.

It has the appearance of sober and bitter truth in it, and therefore cannot make her suspicious of any attempt on his side to mollify her and talk her into returning to him. The lack of courtesy in it makes it trustworthy, but at the same time it has exactly the intended soothing effect: reassured and relieved by the implied assertion that he gives her desired freedom, and maybe even, despite her wishes, pleasantly surprised by his easiness and generosity in putting her right to make this choice beyond a doubt, she inevitably stops to think about him as an enemy or someone who’s against her wishes and views.

Part Thirteen.

Now, when he got through her line of defense, he reminds her of the only remaining link between them, managing to find even in this desperate state of things a subject that unites them without a doubt. She expected him to talk nonsense about his love for her? Didn’t she know he was never snotty and romantic? She expected that freedom would be given to her for her own sake and on her terms and conditions? Nope! He gives her immediately to understand that she is not the center of his world, and his generosity is not aimed at her, actually. That there are people in this world whom he loves and values more, and who’s interests and future are of much bigger importance to him.

And so it happened, by some coincidence , that they are the same people whom she values and loves above the whole world herself – their children. That’s winning. They both love them in the same way, and for their sake they both do all they do in this life. It is for their sake he gives her freedom and provides with all she wishes. And it is for their sake that she may return to him without betraying her self-esteem, pride or principles.

The clever son of a bitch knows how to treat the heart of a Mother. He reminds her of her duties, of their children’s interests’ being above her own resentments and wishes, without insulting or reproaching her. He puts the idea that their family’s reunion is profitable to their kids, and a devoted mother should sacrifice herself for their sake, in her head without even mentioning such reasons and the very reunion itself. All he says is so calculated that it cannot humiliate her, but also does not humiliate him, which is by no means less important.

The winning thing about this phrase is that he doesn’t talk about feelings. In his situation talking feelings is the surest way to defeat. He talks business, calmly and unimpressed. In fact, he talks to her as if he was hiring her as his employee. That sounds a bit cold and formal, and with ultimate genius he adds those very words that can relax the tension and add exactly as much warmth as needed – the joke about her being his Don. The joke is what was really missing in the whole previous conversation, and in this vacuum of pleasantry this one is significant.

It’s far from being “just” a joke, of course. A little sad, but gallant, it conveys the necessary bit of flattery. After all, this is supposed to be his last, parting message to a woman he once loved, and a bit of wit and humanity, reminding her how fascinating and loveable he can be when he chooses to, is not out of place here. Yet, this flattery is not dangerous, it cannot be accepted as such, because it is not meant to deceive her in any way. It’s meant to be seen as a joke, just a joke…

Nevertheless, it has the effect. She was complaining that she’s not being treated as an equal? Here - she’s treated as a superior! But at the same time this charming assertion can have no actual relevance to their real life, because it’s just a joke, and she knows it is. In case she misunderstands, she’s told so. But it cannot affect the impression left, because he said that! And the unpleasant truth, the sobering “that’s just a joke” is cleverly conveyed by Tom as his own comment, though it might as well originate from Michael.

But Tom is either smart enough, or well enough instructed. He understands that realistic comments in this situation must come only from him as his own words, while everything gratifying, of course, as Michael’s.
Now, being independent and free, as “his Don”, she has a perfect psychological loophole: returning to him, she may persuade herself that she’s not submitting to his will, but on the contrary, granting him a mercy.

In short, feeling that in the utmost awkwardness of her situation she may be held back from returning to him by pride, maybe even more than by other reasons, he demonstrates the keenest deference to all her possible feelings: with every word, with every bit of sense implied between the lines, he makes it easy for her to return, if not comfortable! What a masterpiece of manipulation – just in several words!

Part Fourteen.

“Kay put her hand on Hagen’s arm. “He didn’t order you to tell me all the other things?” Hagen hesitated for a moment as if debating whether to tell her a final truth. “You still don’t understand,” he said. “If you told Michael what I’ve told you today, I’m a dead man.” He paused again. “You and the children are the only people on this earth he couldn’t harm.””

And the final strike.
Kay is a very strong person. Strong persons tend to be protective of others. And Kay proved that she needs someone under her wing, someone to intrigue in favor of, someone who needs her to run for cover. Such person until the recent events she had in Carlo. Connie saw it, and played it as well as she could, becoming the second one. Kay’s time and mind were so busy protecting him, and thinking of his situation, that she must feel a sort of vacuum in her soul, having lost him now. So, if they wish to distract her attention from thoughts about Carlo and everything connected with his death, they need to furnish her a replacement, and swiftly. And here it is – Tom. She is in charge of his life now, because she is the only one who knows things that may cause his death. It is some power, and a certain responsibility from now on: life and welfare not only of Tom, but also that of his family, and lil kids, oh darlings , depends on the prudence of her behavior towards Michael. And automatically, this situation makes it impossible for her to make any further attempts to discuss business with Michael, implying that her awareness of the things Hagen told her must be concealed from him, so Hagen wouldn’t be suspected.

We cannot tell how much of a real danger Tom anticipates from Mike’s displeasure at him for going too far in the conversation. If he was not permitted to do so, he might really wish her to be cautious. If he was – it adds yet another refined shadow into the story of the two smart manipulative men, and how they shamelessly played a poor naïve girl like a violoncello.

But of course, this additional purpose is well hidden. As well as could be – it’s not meant to be seen through. Manipulation cannot be successful if victim suspects any danger of being influenced. In Tom’s case, there’s no way for her to feel that something is wrong with his words, that he has any intention to conceal something from her. On the contrary, everything he says looks sincere, like he’s being forced to uncover the “final truth” because he wishes to give her a fair representation of the real world she lives in. Against his will, he is obliged by his conscience to show her the real Michael, whom she still doesn’t take as seriously as he deserves, but who, being more powerful than most of the people in this world, is perfectly able to harm any of them the moment he pleases. This formidable accumulator of evil power certainly isn’t the college boy she dated, but definitely is the man she married and father of her kids. Whether she stays with him or leaves him, she has to realize and accept it, as an accomplished fact that she cannot change.

And what a flattering assurance – for her and kids to be the only exception, the only people on the whole earth to stand beyond, above his power. The more frightening is the man, the more flattering it is to see him helpless and powerless before you (oh yes, sure ), in short – to be his Don. Of course, it is in Michael’s favor that she should be led to think in such a pleasant way about the whole situation, and this clever trap must’ve been planned and foreseen by him, as well as several even more clever traps.

Self-esteem is the most important obstacle, now that she has eloped, and coming back means obeying him. To help her overcome these feelings, this conversation introduces several ways in which the situation might be seen, and her role interpreted, which could serve to gratify her pride much better than any she could adopt staying away.

For life, she will remain the better one of them two. Every day in future she might muse over her virtues compared to Michael’s sins, and still more elevating, what a Great and Noble self-sacrifice she proved herself capable of, when she returned to him and forgave him. She will find a considerable source of complacency, pitying the poor sinner from the heights of her goodness. And of course, thinking that she is sacrificing herself to her duty before him and kids, she will feel no remorse or uneasiness living with him in luxury and spending his criminal wealth.

There is also the Mission. She is not as stupid as to cherish any hopes to make him better by her own example anymore, she must understand that he is not an easy person to reform, and his crimes had gone too far for that. But she has a wonderful possibility to imagine herself a modern Lady Godiva, the only instance between Michael and the helpless world, and the only person whose mollifying influence with him might spare, at least, some part of the Earth from terrible consequences of his anger. Such a brave, self-denying little creature, lightening the fate of humanity.

Besides, if she leaves him, will it not make him become only worse? Of course, she has loved him for many years, and this feeling cannot be overcome in one week just because of his lie. As soon as her passions cool down, and she stops pitying herself, this love will remind her about his lonely state and she will be able to pity him. The whole conversation above, intentionally or not, leaves a dark impression, showing Michael as a man who has won the world at the dreadful price of his own soul. He might need help now, more than many other people in the world, even if he will never allow himself to acknowledge it. If she leaves him now to his fate, she will not be such a gracious saint after all, and later her conscience may reproach her for this action as egoistic and unfeeling. After all, did she not wow to love him, for better, for worse, in health and in sickness? She has nothing to fear from God, being so right and good, while his future sufferings look pretty inevitable.

Here comes the subtlest undertone. In all likelihood, it was not calculated to work out that way, but it did. Tom could never be, honestly speaking, a real replacement for Carlo in her affections and care. His problems are not that pressing, they do not afford any reason for everyday action, nor will they ever occupy such a place in her mind. It is in Michael’s immortal soul that she’ll find a real ward, an equally worthy and important object of protection, a new goal in life and occupation in the mornings . As you remember,
“A week after she returned to Michael she went to a priest for instruction to become a Catholic…”

Part Fifteen.

“It was a long five minutes after that Kay rose from the grass and they started walking back to the house. When they were almost there, Kay said to Hagen, “After supper, can you drive me and the kids to New York in your car?”

Here’s the smart Tom. No, he definitely was made a Sicilian. He sat quietly for five minutes, and made no attempt to interrupt her thoughts with inquiry of any kind. He really knows his job. Every next minute of her silence actually increased chances on her return. Had she decided against it, had she chosen to distrust Tom, she would have no reason to sit so long in silent thoughtfulness. It’s possible only if she accepted his arguments, because they had to open her eyes in a thoroughly new way on the world and people around, and would make her re-evaluate so many things of no trifling importance, that it requires some time and mental process to get used to such a change in one’s views.

So when she asks him to drive her back, he is not surprised – why should he be?
“That’s what I came for,” Hagen said.”

It’s good he didn’t say in a burst of frankness “that’s what I’ve been sent for”. Or she might begin to understand the whole thing . In fact, this bit of sincerity is aimed as much at Kay as at the reader, and in fact, it started the analytic process the result of which you have just read.

And a few words in the end.
The major flaw of the Godfather sequels lays in the intention to squeeze a didactical tragedy out of it. The greatest and endless depth of the novel is in the absence of outward tragedy of this kind, screaming, snotty, demonstrative and obvious. The novel is a great work of realistic art, and the impression it gives is more of intellectual nature. Its tragedies are inward and unspoken, they touch us in a subtler, not so direct manner, and we sense them even if they are silent, if we have to guess them. And that may give a much deeper impression, because it happens in life so often.

Classical tragedy is conditional in many respects; it sacrifices all those small details that life is made of. But there’s another thing: tragedy implies event, denouement, accomplishment of everybody’s fate, certainty. And its overdisplayed suffering results in catharsis, relieving the tension, discharging the load of misery accumulated in spectator’s soul.

The Godfather is less merciful to reader – there are no answers and no relief. If it ended one chapter earlier, as does the film, the ending might appear almost as a victory. It is this, last chapter that leaves subconscious oppressive effect on our mind, lets the chilling winds of eternity in, and with the power of genius makes us feel the depth of the gulf we are looking into. Puzo does not moralize, he never does, it is so blunt. But he creates with minimal means the frightening sense of walking on the razor-edge, of unprotected fragile balance in uneven duel with destiny, and makes us shudder, realizing suddenly the presence of God, fate, and death – so close to us, here, in this world. There’s no equal to this ending chapter, cutting the story as if the string is torn, and the uneasy feeling that remains with us, telling the message of this book without the help of words to our conscience: We Always Pay.


Copyright (c) JustMe. All rights reserved .

Damn. The analysis is longer than the chapter you're analyzing.

Great job, though, JM. You truly are the expert on the novel here.

Very well written, along with many excellent insights and valid opinions.

I'll have some comments that are more specific, but first I want to read it again.

It's not my fault that Puzo has a trait to say so much in a few words!

That's some praise - coming from Plaw. Thanks.

I'm waiting!

I'm speechless, JM. I knew you had a gift. What I didn't know yet was how great this gift is. Congratulations, my dear!

I'm shocked to the very bone.
I would never imagine someone writing all that much about the last chapter, this is a real record!

I printed it twice. One for me to read on the subway, one for Debra. (I hope to see her next week)

I have a few PMs to reply to, but then I have to get offline, and I wont be back until after Christmas, but I give you my word JM that I'll post my and Debra's comments the minute Im back! (unless she's back before)

Thank you, Lavi. My God. I'm so touched, really. I'm glad you liked it. And you find the ideas convincing?

Fame - hope you and Debra will like it.
See you after Christmas! Have a merry one!

You know I never read the book (not yet, shame on me! ), but I definitely trust you, JM! Just one note: if I'm not mistaken, you said the novel is a realistic piece of art with no didascalic purpose, as Puzo never moralizes because the "moral lessons" (if we are allowed to call them so) are implicit, embodied inside the plot itself, and never need to be told. Thus it is your opinion that FFC added a too outspoken moral intent to the movie, which would be somehow "alien" to the book - something you seem not to appreciate too much. Couldn't it be because of the specific language a movie needs rather than an arbitrary FFC's decision? I mean literature has its own language and, most of all, its own pace. A movie is a different medium and got different language and different pace. Maybe a patent moral intent (which is quite obvious in the movie) was added (or just underlined) because the movie (or FFC himself) couldn't run the risk of being labelled as "morally neuter" in front of such a sinful story that needed to be told in just two hours or three? Just my two cents.

Oh, and again....great job, JM. Great job!

I don't think so. The first movie is very much in the book's spirit, and it is definitely the best of all.
They were criticized. And in the sequels FFC begun, accordingly, to make the tragedy just to please stupid critics. The result was inevitable - inferiority of sequels to the original, especially GF3.
I wrote all I think about it in the last very long post in this thread:
The murder of Fredo.

Just Me, youve done it, finally! Just kiddin but now I wont be able to nag you about it anymore....oh well.

When Fame gave me the print, I asked "which book did u print?" but it was fun to read of course.

I cant thank u enough for remembering my small time question till now, thank you, thank you for taking the time to write it, the last chapter may not be a fav of mine, but I think I slowly begin to like it more