Michael's story is a tragedy, especially "The Godfather", which is in fact not Vito's story, but Michael's.
Here#s a guy who doesn't want to have anything to do with the crime family. He knows the Luca/Fontane story.
But when his father is shot down he finds, he's the only one who's not only willing but able to rescue him by planning and executing a bold move against Sollozzo. (Of course, we see already then that he's not free from anger and personal motifs.) Things get worse: His father lures him into the crime business when Michael comes back. At that time Michael is already weak, because he seeks for revenge for the death of Appollonia. Vito successfully makes Michael believe that "the family" and the crime organisation are just the same.
So Michael thinks the more he does for "business" the better it is for the family, which is a common gender conflict in modern life.
In GF2 he's asking his mother: "But by being strong for his family could he (i.e. Vito) lose it?" (Vito never faced the problems of a treachery brother, a wife to whom abortion was an option.)
So, it's a classical tragedy like Oedipus. The more the protagonist struggles against his destiny, the less he can escape.