Of all the wonderful things that can be said about Francis Ford Coppola's American masterpiece The Godfather (1972), above all else the film is a masterclass in storytelling. It's essentially a classic, romantic story of family, loyalty and the passage of time, undercut with a dark, violent portrayal of what it takes to achieve the American dream. It told a detailed, complex, and often confusing story featuring a large ensemble of characters, but this only matched the complexity of what Coppola was trying to achieve. The director, adapting Mario Puzo's novel, famously had a torrid time at the hands of the producers, namely Robert Evans. Yet when the resulting three-hour epic became a box-office and award-season smash, Coppola would be given free reign if he was to helm a follow- up.

The resulting three hour twenty minute sequel was the director grabbing his chance to have complete control and pouring all of his artistry into it. This wasn't to be another classical Hollywood tale, but one of corruption, greed and pure evil. I first saw The Godfather Part II around 20 years ago at the age of 12 when I was first allowed to start watching movies for grown-ups. Watching it now, having seen it a handful of times in between, it's a completely different movie to the one I remember. I remembered it as an ambitious gangster movie with quite shocking violence, chocked full of great performances by actors who are now giants in their field. What I see now is a sequel truly like no other. A movie that is somehow optimistic and pessimistic in equal measures; one that sees its lead lose his soul while his father gains his; and quite possibly one of the saddest movies ever made.

At first, Part II mirrors the narrative of its predecessor, beginning with a grand wedding as the Don (now Al Pacino's Michael Corleone) makes his underlings sweat as they wait to greet the head of the 'family'. While the previous wedding was a joyous, boisterous occasion, this one is noticeably different. Of the family that remains - John Cazale's weak-willed Fredo; Talia Shire's gold- digging Connie - only the mother seems to be the same. The band doesn't even know any Italian songs. While Michael may have attempted to continue his father's legacy when he took over, the changing, capitalist world has driven him inward, isolating himself from everybody around him and drifting away from the Sicilian values of his father. He was once a proud war veteran with a bright future, but now he is solemn and aggressive, and becomes even more so when a hit on his home almost kills him and his wife Kay (Diane Keaton).

His close brush with death only fuels his paranoia, and he must navigate perilous waters as he moves into business in Cuba with one his father's business associates Hyman Roth (Lee Strasberg), who also happens to be backing a couple of brothers moving into Corleone capo Frankie Pentangeli's (Michael V. Gazzo) territory. Michael suspects a betrayer within his own ranks, suspecting everyone including his own family. It almost seems like a deliberately confusing plot to take in alongside Michael's descent into pure evil, and it may all be too overwhelming had Coppola not chosen to juxtapose this story with one of optimism and nostalgia; that of the young Vito Corleone's escape from a mafia boss in Sicily and his eventual arrival in America. There is infinitely more colour and hope in these moments, and while these scenes may gloss over Vito's own violent journey, it seems like Coppola is making a point about where he feels his country was heading. Of course, these flashbacks are made even more welcome by the astonishing performance from a young Robert De Niro.

The Godfather Part II currently sits in between The Godfather and The Dark Knight as #3 on IMDb's Top 250 list, and while I have little faith in the accuracy of a list that relies so heavily on popularity, it must be one of the most difficult and uncompromising movies in there. I'm actually pleasantly surprised that so many people love it, given the lack of flashy moments of violence the genre is so popular for. It's an experiment that could have gone so horribly wrong, and one that certainly wouldn't have been made outside of the innovative 1970s. Yet Coppola gets everything spectacularly right, from the inspirational casting of the Oscar- nominated Gazzo and Strasberg, to the chilling penultimate scene which sees James Caan's Sonny briefly return. In that final moment we realise that Michael has always been alone, destined to carve his own path, while forever gazing into the past to ponder what could have been.