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The Godfather #4
The Godfather Returns
THE MISSING YEARS FROM THE GREATEST CRIME SAGA OF ALL TIME
Thirty-five years ago, Mario Puzo's great American tale, The Godfather, was published, and popular culture was indelibly changed. Now, in The Godfather Returns, acclaimed novelist Mark Winegardner continues the story-the years not covered in Puzo's bestselling book or in Francis Ford Coppola's classic films.
It is 1955. Michael Corleone has won a bloody victory in the war among New York's crime families. Now he wants to consolidate his power, save his marriage, and take his family into legitimate businesses. To do so, he must confront his most dangerous adversary yet, Nick Geraci, a former boxer who worked his way through law school as a Corleone street enforcer, and who is every bit as deadly and cunning as Michael. Their personal cold war will run from 1955 to 1962, exerting immense influence on the lives of America's most powerful criminals and their loved ones, including
Tom Hagen, the Corleone Family's lawyer and consigliere, who embarks on a political career in Nevada while trying to protect his brother;
Francesca Corleone, daughter of Michael's late brother Sonny, who is suddenly learning her family's true history and faces a difficult choice;
Don Louie Russo, head of the Chicago mob, who plays dumb but has wily ambitions for muscling in on the Corleones' territory;
Peter Clemenza, the stalwart Corleone underboss, who knows more Family secrets than almost anyone;
Ambassador M. Corbett Shea, a former Prohibition-era bootlegger and business ally of the Corleones', who wants to get his son elected to the presidency-and needs some help from his old friends;
Johnny Fontane, the world's greatest saloon singer, who ascends to new heights as a recording artist, cozying up to Washington's power elite and maintaining a precarious relationship with notorious underworld figures;
Kay Adams Corleone, who finally discovers the truth about her husband, Michael-and must decide what it means for their marriage and their children and
Fredo Corleone, whose death has never been fully explained until now, and whose betrayal of the Family was part of a larger and more sinister chain of events.
Sweeping from New York and Washington to Las Vegas and Cuba, The Godfather Returns is the spellbinding story of America's criminal underworld at mid-century and its intersection with the political, legal, and entertainment empires. Mark Winegardner brings an original voice and vision to Mario Puzo's mythic characters while creating several equally unforgettable characters of his own. The Godfather Returns stands on its own as a triumph-in a tale about what we love, yearn for, and sometimes have reason to fear . . . family.
From the Hardcover edition.
Thirty-five years ago, Mario Puzo's great American tale, The Godfather, was published, and popular culture was indelibly changed. Now, in The Godfather Returns, acclaimed novelist Mark Winegardner continues the story-the years not covered in Puzo's bestselling book or in Francis Ford Coppola's classic films.
It is 1955. Michael Corleone has won a bloody victory in the war among New York's crime families. Now he wants to consolidate his power, save his marriage, and take his family into legitimate businesses. To do so, he must confront his most dangerous adversary yet, Nick Geraci, a former boxer who worked his way through law school as a Corleone street enforcer, and who is every bit as deadly and cunning as Michael. Their personal cold war will run from 1955 to 1962, exerting immense influence on the lives of America's most powerful criminals and their loved ones, including
Tom Hagen, the Corleone Family's lawyer and consigliere, who embarks on a political career in Nevada while trying to protect his brother;
Francesca Corleone, daughter of Michael's late brother Sonny, who is suddenly learning her family's true history and faces a difficult choice;
Don Louie Russo, head of the Chicago mob, who plays dumb but has wily ambitions for muscling in on the Corleones' territory;
Peter Clemenza, the stalwart Corleone underboss, who knows more Family secrets than almost anyone;
Ambassador M. Corbett Shea, a former Prohibition-era bootlegger and business ally of the Corleones', who wants to get his son elected to the presidency-and needs some help from his old friends;
Johnny Fontane, the world's greatest saloon singer, who ascends to new heights as a recording artist, cozying up to Washington's power elite and maintaining a precarious relationship with notorious underworld figures;
Kay Adams Corleone, who finally discovers the truth about her husband, Michael-and must decide what it means for their marriage and their children and
Fredo Corleone, whose death has never been fully explained until now, and whose betrayal of the Family was part of a larger and more sinister chain of events.
Sweeping from New York and Washington to Las Vegas and Cuba, The Godfather Returns is the spellbinding story of America's criminal underworld at mid-century and its intersection with the political, legal, and entertainment empires. Mark Winegardner brings an original voice and vision to Mario Puzo's mythic characters while creating several equally unforgettable characters of his own. The Godfather Returns stands on its own as a triumph-in a tale about what we love, yearn for, and sometimes have reason to fear . . . family.
From the Hardcover edition.
560 pages, Mass Market Paperback
First published January 1, 2004
473 people are currently reading
6683 people want to read
About the author
Mark Winegardner
39 books72 followersMark Winegardner (born November 24, 1961) is an American writer born and raised in Bryan, Ohio. His novels include The Godfather Returns, Crooked River Burning, and The Veracruz Blues. He published a collection of short stories, That's True of Everybody, in 2002. His newest novel, The Godfather's Revenge, was published in November 2006 by Putnam. His Godfather novels continue the story of the Corleone family depicted in Mario Puzo's The Godfather.
According to a press release from Putnam: In a major acquisition, G. P. Putnam's Sons Executive Editor Dan Conaway secured North American rights to The Godfather's Revenge, the capstone to the Corleone family saga, which began with Mario Puzo's landmark novel and was carried forward in Winegardner's 2004 New York Times bestseller, The Godfather Returns. The Godfather's Revenge was written by Winegardner, based on Puzo's original characters.
"It's staggering to contemplate the legacy of the Godfather films and novels," says Dan Conaway. "They have had a deeper, broader and more lasting impact on the fabric of contemporary culture than has any other such franchise in the past 50 years.
It's fitting, then, that The Godfather's Revenge overlays the resonant mythology of the Corleone family onto the most vexing real-life mystery of our age, with a storyline that explores the role organized crime may have had in the assassination of a charismatic young President." [1]
According to a press release from Putnam: In a major acquisition, G. P. Putnam's Sons Executive Editor Dan Conaway secured North American rights to The Godfather's Revenge, the capstone to the Corleone family saga, which began with Mario Puzo's landmark novel and was carried forward in Winegardner's 2004 New York Times bestseller, The Godfather Returns. The Godfather's Revenge was written by Winegardner, based on Puzo's original characters.
"It's staggering to contemplate the legacy of the Godfather films and novels," says Dan Conaway. "They have had a deeper, broader and more lasting impact on the fabric of contemporary culture than has any other such franchise in the past 50 years.
It's fitting, then, that The Godfather's Revenge overlays the resonant mythology of the Corleone family onto the most vexing real-life mystery of our age, with a storyline that explores the role organized crime may have had in the assassination of a charismatic young President." [1]
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Displaying 1 - 30 of 285 reviews
February 27, 2015
Awful, just awful. The errors in detail (e.g., assigning Michael the wrong university), the inexplicable resurrection of dead characters and the leaving out of pivotal characters, the ham-handed allusions to contemporary events and people, all those were bad. What could make this book worse? The writer's complete lack of familiarity with key characters made them both wooden and a little pathetic. Anyone familiar with Puzo's book or the films will have a hard time recognizing the players they know. Finally, the clumsy attempts at literary flourishes made it nearly unreadable. There are approximately 100 amateurish juxtapositions per chapter, such as "He both did and did not want to" and "he both felt and did not feel," and "she was intrigued and repulsed." Fine. We get it. Conflicting emotions. But page after page of "he loved and hated" gets old fast.
August 9, 2019
-El asunto de las franquicias literarias, a veces, se va de las manos.-
Género. Novela.
Lo que nos cuenta. El libro El padrino. El regreso (publicación original: The Godfather Returns, 2004) nos lleva a mediados de los años cincuenta, cuando Michael Corleone está al mando de una de las familias mafiosas más importantes del país, pero además de la dificultad que implica la búsqueda de pantallas legales para su negocio, de la presión de las autoridades y de algunas fisuras en su organización, otros rivales criminales lucharán contra él para arrebatarle su posición. Supuesta continuación de la novela (y la película) El padrino, pero con tramas que van más allá de la película El padrino II y algunas otras que retroceden a eventos anteriores a El padrino.
¿Quiere saber más de este libro, sin spoilers? Visite:
https://librosdeolethros.blogspot.com...
Género. Novela.
Lo que nos cuenta. El libro El padrino. El regreso (publicación original: The Godfather Returns, 2004) nos lleva a mediados de los años cincuenta, cuando Michael Corleone está al mando de una de las familias mafiosas más importantes del país, pero además de la dificultad que implica la búsqueda de pantallas legales para su negocio, de la presión de las autoridades y de algunas fisuras en su organización, otros rivales criminales lucharán contra él para arrebatarle su posición. Supuesta continuación de la novela (y la película) El padrino, pero con tramas que van más allá de la película El padrino II y algunas otras que retroceden a eventos anteriores a El padrino.
¿Quiere saber más de este libro, sin spoilers? Visite:
https://librosdeolethros.blogspot.com...
April 8, 2021
So we get to see how the Corleone family has been doing after their bloody victory from The Godfather? It doesn't sound bad at all, let's see how this will go.
Rating: 2.5 stars. It is a hard book to rate, I almost want to give it 3 stars because the story is actually enjoyable to a degree, but in the later half of the story, the plot holes and the OOC characters are just too much to handle.
Sighs, I know I can hardly expect Mark Winegardner to measure up to Mario Puzo, still The Godfather Returns is quite a disappointment.
The plot is okay-ish, but from time to time I don't feel like I can recognize these characters anymore. I mean, Michael confesses
Then Fredo went on to become a radio talk show host? In which alternative universe would THIS happen? I guess the author wants to use this to partly justify Michael , but story-wise it's just so ill-planned.
On one hand, there are some good writing in the text and I'm glad to read anything with the Corleone family in it, but on the other hand as the characters act increasingly OOC in the later part of the novel, I just have to call BS.
Rating: 2.5 stars. It is a hard book to rate, I almost want to give it 3 stars because the story is actually enjoyable to a degree, but in the later half of the story, the plot holes and the OOC characters are just too much to handle.
Sighs, I know I can hardly expect Mark Winegardner to measure up to Mario Puzo, still The Godfather Returns is quite a disappointment.
The plot is okay-ish, but from time to time I don't feel like I can recognize these characters anymore. I mean, Michael confesses
Then Fredo went on to become a radio talk show host? In which alternative universe would THIS happen? I guess the author wants to use this to partly justify Michael , but story-wise it's just so ill-planned.
On one hand, there are some good writing in the text and I'm glad to read anything with the Corleone family in it, but on the other hand as the characters act increasingly OOC in the later part of the novel, I just have to call BS.
October 28, 2015
You can never go home again.
March 26, 2012
Perhaps it is because I have seen all three godfather films and am a big fan of the original novel that leads me to read this book with an attitude. Knowing that a new godfather novel is coming out soon (The Family Corleone) brought me back to reading this book again. However I couldn't get past a few things in how the book is written such as it silly attempts at making a particular segment humorous or the ending of the first chapter that beats an idea to death.
The biggest issue I have is the idea that Fredo Corleone is gay. To me this is such typical characterization to introduce to today's clueless audienc. This was always, and shall always, remain a story about men...he-men...tough men...but not gay men.
Therefore, after setting aside my attitude, I chose to continue on and finish the book in hopes that there would be some good moments. I admit I found a few weak moments which I willing to go along with such as Tom Hagen killing two men.
However the whole introduction of new mob families with all their issues seemed rather shoehorned into the story to keep it going.
I think the book could have been much better served to have fleshed more of the original characters who had since grown up...such as Carlo's son, all of Sonny's kids plus introduced Al Neri's family as well. Much like The Godfather Part III movie, this story is all over the place with characters who I have no interest in.
One of the key storylines in the original book was its connections to real stories in the history of the organized crime. I liked the introduction the Shea family (a la the Kennedy family). However, I felt that involving all the crime families from the entire country created too many characters to keep track of.
Of course, I found the end rather lame with the silly story about Geraci living in a cave under Lake Erie and no one knows where he is. It would have made more sense to have had him exposed as a vulnerable character (a la Sonny) who would swear revenge against Micheal Corleone man to man.
Again, I only read this book because I heard a new book was coming out so I thought I would give this book a chance in the event that the new book is somehow tied in to this book.
The biggest issue I have is the idea that Fredo Corleone is gay. To me this is such typical characterization to introduce to today's clueless audienc. This was always, and shall always, remain a story about men...he-men...tough men...but not gay men.
Therefore, after setting aside my attitude, I chose to continue on and finish the book in hopes that there would be some good moments. I admit I found a few weak moments which I willing to go along with such as Tom Hagen killing two men.
However the whole introduction of new mob families with all their issues seemed rather shoehorned into the story to keep it going.
I think the book could have been much better served to have fleshed more of the original characters who had since grown up...such as Carlo's son, all of Sonny's kids plus introduced Al Neri's family as well. Much like The Godfather Part III movie, this story is all over the place with characters who I have no interest in.
One of the key storylines in the original book was its connections to real stories in the history of the organized crime. I liked the introduction the Shea family (a la the Kennedy family). However, I felt that involving all the crime families from the entire country created too many characters to keep track of.
Of course, I found the end rather lame with the silly story about Geraci living in a cave under Lake Erie and no one knows where he is. It would have made more sense to have had him exposed as a vulnerable character (a la Sonny) who would swear revenge against Micheal Corleone man to man.
Again, I only read this book because I heard a new book was coming out so I thought I would give this book a chance in the event that the new book is somehow tied in to this book.
This entire review has been hidden because of spoilers.
May 13, 2012
Before I was 30 pages into Puzo's THE GODFATHER, I was hooked. It was absolutely incredible. To put it simply, Winegardner fails to produce a comparable product. I was about 70 pages in when I abandoned The Godfather Returns. I find Winegardner's attempt thoroughly uninteresting. Inane, pointless banter that goes nowhere... After 70 pages I still have no clue as to any kind of plot. I rarely abandon books, but I just couldn't go on. I really don't care. I can't believe I paid $8.53 for this.
August 9, 2012
Mark Winegardner has no idea who these characters were.
October 15, 2013
Zombie mafia!
Who'd have thought! Love it!
Can't wait to read this.
Who'd have thought! Love it!
Can't wait to read this.
January 21, 2011
This book was somewhat interesting, extending the Godfather series and plot, fleshing out characters and events from the earlier book and the movies. I really looked forward to reading it. I was disappointed. While there were some interesting developments and clarifications on the earlier characters, it was tough to keep it all straight, and after a while, I lost interest in trying.
The book was filled with elliptical references to plot elements that were so vague that I was unable to understand what was being conveyed. After enough of this obscurity it became frustrating, and I began to lose interest. The plot was also developed in a jumpy style - back and forth between different characters with sometimes very incomplete descriptions of the action, and which moved so fast it made it difficult to keep up with what was going on. It felt like the exceedingly dense plot would have been much better served by a more straightforward telling of the tale.
By the end, I just wanted the book to be over.
The book was filled with elliptical references to plot elements that were so vague that I was unable to understand what was being conveyed. After enough of this obscurity it became frustrating, and I began to lose interest. The plot was also developed in a jumpy style - back and forth between different characters with sometimes very incomplete descriptions of the action, and which moved so fast it made it difficult to keep up with what was going on. It felt like the exceedingly dense plot would have been much better served by a more straightforward telling of the tale.
By the end, I just wanted the book to be over.
September 29, 2022
Okay, I was in the mood for some more stuff from the Godfather universe and took this book with me on a recent vacation. Much of the book focuses on Fredo Corleone rather than Michael. It fills in some back story between the first two Godfather movies. It's well written. It moves fast. It's got sex and violence. And we see what happens, according to this book at least, to some of the old characters we know from the movies. I would say that if you've never read the original novel by Mario Puzo you should read that one before any of the sequels. It's pulpy and fun.
July 17, 2024
I really loved the first and the second books in the series. This one is a disappointment. Maybe it’s because it’s not written by M.Puzo..? It’s hard to step into his shoes. The plot is ok-ish, but there are many plot holes. It seems that M.Winegardner has no idea what he does with characters. Not going to read the sequel.
March 29, 2015
3.5 stars
I don't fully understand this book's transition from the blockbuster film.
The more infamous scenes were removed from the book altogether, or they were told after the fact, or quickly fast-forwarded through. Huh? Everything else is covered slowly in painstakingly clear detail. Examples: Kay's revelation to Michael about the baby (mentioned months after the fact), the kiss of betrayal with Fredo (removed), the attack on the house (after the fact, covered briefly...)
The story is divided heavily by five time-lines, which to me was a bit overwhelming. There is a substantial amount of space devoted to Fredo, especially a "certain secret." The invention of this secret isn't that plausible - even if it were, what big thing does it add to the story? This unusual invention between Michael and Fredo adds up to little.
Unfortunately, the glamour easily experienced with the first was somewhat lacking here. The drama, pizazz, and glitz from the first was seldom felt. While the first emphasized family structure as an in-depth, psychological intrigue, this book has the family fallen apart. Michael Corleone inherited his father's finesse and business acumen, but it's clear from the story's events that he doesn't have the talent to keep family together as his father could.
Winegardener did a neat trick introducing some new characters (like Francesca, although the ending with her felt a bit contrived). The book falls short when it comes to Micheal's inner expression. Tom Hagen comes across dullish and predictable when compared to the inner diggings Puzo introduced with the first.
He does an admirable job emulating Puzo's style, even though of course imitation isn't always flattery. Unfortunately the glamor from the first is mainly absent from this book's reading, but it's still enjoyable in a different way - internal struggles among those who climb in the mafia and the bizarre exploration of a brother who can never live up.
I don't fully understand this book's transition from the blockbuster film.
The more infamous scenes were removed from the book altogether, or they were told after the fact, or quickly fast-forwarded through. Huh? Everything else is covered slowly in painstakingly clear detail. Examples: Kay's revelation to Michael about the baby (mentioned months after the fact), the kiss of betrayal with Fredo (removed), the attack on the house (after the fact, covered briefly...)
The story is divided heavily by five time-lines, which to me was a bit overwhelming. There is a substantial amount of space devoted to Fredo, especially a "certain secret." The invention of this secret isn't that plausible - even if it were, what big thing does it add to the story? This unusual invention between Michael and Fredo adds up to little.
Unfortunately, the glamour easily experienced with the first was somewhat lacking here. The drama, pizazz, and glitz from the first was seldom felt. While the first emphasized family structure as an in-depth, psychological intrigue, this book has the family fallen apart. Michael Corleone inherited his father's finesse and business acumen, but it's clear from the story's events that he doesn't have the talent to keep family together as his father could.
Winegardener did a neat trick introducing some new characters (like Francesca, although the ending with her felt a bit contrived). The book falls short when it comes to Micheal's inner expression. Tom Hagen comes across dullish and predictable when compared to the inner diggings Puzo introduced with the first.
He does an admirable job emulating Puzo's style, even though of course imitation isn't always flattery. Unfortunately the glamor from the first is mainly absent from this book's reading, but it's still enjoyable in a different way - internal struggles among those who climb in the mafia and the bizarre exploration of a brother who can never live up.
June 4, 2022
I initially read this book years ago and the plot was vague in my recollection. Now that I've reread the book I understand why.
This is an okay book, but it's even more of a Roman a Clef than the original. So much so that there's almost no point in reading it if you've read or seen other things about the Mafia in the 20th Century United States.
Most frustrating--and the reason I'm only giving the book three stars--is that the story was divided into five concurrent plots. That's fine, and I generally enjoy books with diverse stories which all converge at the climax. But here the author decided he was writing about time periods instead of characters. So if a character the reader was interested in (i.e. Francesca Corleone) didn't do anything the author felt to be of note, she was left out of that time period. So instead of being kept abreast of all five of the story lines continually we'd have a section with this or that subplot and then it would be abandoned entirely--sometimes for as many as 200 pages.
Even though the book is "The Godfather Returns", the majority of the time seemed to be spent on "Fredo Is In The Closet." It got pretty dull after awhile to watch Fredo be conflicted, all the while Mike is some sort of Mafia Cypher sitting behind the scenes.
So yes, I enjoyed it as I tend to enjoy any story set in this world. I would have enjoyed it more, perhaps, if like Puzo this author had cared as much about the characters as he did about the culture.
This is an okay book, but it's even more of a Roman a Clef than the original. So much so that there's almost no point in reading it if you've read or seen other things about the Mafia in the 20th Century United States.
Most frustrating--and the reason I'm only giving the book three stars--is that the story was divided into five concurrent plots. That's fine, and I generally enjoy books with diverse stories which all converge at the climax. But here the author decided he was writing about time periods instead of characters. So if a character the reader was interested in (i.e. Francesca Corleone) didn't do anything the author felt to be of note, she was left out of that time period. So instead of being kept abreast of all five of the story lines continually we'd have a section with this or that subplot and then it would be abandoned entirely--sometimes for as many as 200 pages.
Even though the book is "The Godfather Returns", the majority of the time seemed to be spent on "Fredo Is In The Closet." It got pretty dull after awhile to watch Fredo be conflicted, all the while Mike is some sort of Mafia Cypher sitting behind the scenes.
So yes, I enjoyed it as I tend to enjoy any story set in this world. I would have enjoyed it more, perhaps, if like Puzo this author had cared as much about the characters as he did about the culture.
March 10, 2018
The cover says “New York Times Bestseller”.
Well that goes to show you don’t judge a book by its cover. I read 150 pages and felt like shooting myself, this is the most ludicrous excuse for an addition to Mario Puzo’s “family” that could possibly be conceived. The author obviously has no talent and was completely unfamiliar with Puzo’s work.
It is rare for me to put a book down unfinished but I gave this one 100 pages more than it deserved, the plot (?) was hard to follow, too many characters, established characters from Puzo were unrecognizable.
Please never let this man write again!
Well that goes to show you don’t judge a book by its cover. I read 150 pages and felt like shooting myself, this is the most ludicrous excuse for an addition to Mario Puzo’s “family” that could possibly be conceived. The author obviously has no talent and was completely unfamiliar with Puzo’s work.
It is rare for me to put a book down unfinished but I gave this one 100 pages more than it deserved, the plot (?) was hard to follow, too many characters, established characters from Puzo were unrecognizable.
Please never let this man write again!
August 5, 2009
Just really, really bad.
This guy should have thought up his own characters instead of messing with Puzo's guys. I'm going to try to forget what this writer did to them. Michael had some uncool moments that were completely out of character, and poor Fredo was even more pathetic than he was in the real Godfather book.
This guy should have thought up his own characters instead of messing with Puzo's guys. I'm going to try to forget what this writer did to them. Michael had some uncool moments that were completely out of character, and poor Fredo was even more pathetic than he was in the real Godfather book.
October 24, 2007
Good book, couple steps behind Puzo, obviously and more obviously not written by a true Italian.
October 15, 2023
"The Godfather Returns" by Mark Winegardner is a compelling addition to the iconic Godfather series. Winegardner skillfully continues the saga of the Corleone family, staying true to the essence of Mario Puzo's original masterpiece. The intricate plot weaves seamlessly with familiar characters, shedding light on their hidden motives and untold stories. Winegardner's writing captures the dark, brooding atmosphere of the original, making it a must-read for fans of the franchise. Although it might lack Puzo's finesse, it is a satisfying extension of the Godfather legacy, offering a deeper dive into the lives of the legendary characters.
October 12, 2018
For those who were critical of the writing remember a famous quote from Puzo who said he wrote the original for a quick payday and if he had known it would become successful he would have paid more attention to the writing quality.
Winegardner has done a good job, and better than most posthumus writers, of building on the original.
Winegardner has done a good job, and better than most posthumus writers, of building on the original.
April 27, 2010
Just stopped half way, its a load of crap! no story line at all, don't think i want to waste my time. Mario Puzo would roll on his grave if he read this.
October 11, 2016
I think this book filled in the blanks rather nicely . All leading up to the destruction of Michael's mind. His soul had already begun to corrode.
May 24, 2020
This book impressed me by being worse than I thought it was possible.
December 31, 2022
good, not great, better then the movie, but had to google alot of the characters to see who they were so took to much time
June 14, 2020
3,5* unfortunately it’s different that the Godfather from M. Puzo (little bit different style). But I think that I can understand another part of the film more easily.
May 5, 2014
Two or three years after the passing of Mario Puzo, the authors estate which retained the rights to his "Godfather" characters (for purposes of published work) bestowed on Mark Winegardner the awesome responsibility and priviledge to have the opportunity to write legal fan fiction to follow in the footsteps of one of the most classic novels of the twentieth century. It is not a duty that Winegardner by no means took lightly...
He carefully crafted a timeline for two sequels to take place during the gaps left between the first movie and the second. And then a second novel to be set between the second movie and the third. Going into this novel "Returns" the reader can't really be sure what they are going to get in terms of writing content. Winegardner elects to use quite a few pages to recount events from the original novel through the unaware voices of other characters in 1950's America. The grief that I have with these flashbacks is that when this novel was published 30 years after the godfather 2 movie, i would believe it would be rightful to assume that the reader remembers these events as clearly as they remember the birth of their own children and to recap them is flat out redundant. The reader may have read the book more than once, but undoubtedly has seen the movie at least 3 times over the course of 30 years. Inevitably some readers out there may have viewed the movie 30 time in 10 years (we know what happened... you don't need to waste time recounting)
But with that aside, Winegardner had a couple of strengths in this novel, he attempts to emulate Mario Puzo's style in some places which is greatly appreciated, and he also insures to bring back the obscure characters from the novel who either were not shown in the godfather films, or were of limited story when shown. Winegardner brings back Johnny Fontane, his physician the abortionist, and a few others. He builds stories around the other members of the "commision" from around the nation, mentioned only in passing by Puzo in his original novel and same to be said of Brando's introduction of them in the film. Much of Winegardner's development is used behind the later life of Sonny Corleone's twin daughters who appear visually in all three movies but never really had any lines. The author appeared afraid or unsure of how to write the character of Connie Coreleone in this novel, and at some points a reader may feel he took too much "liberty" in developing his own dialogue and actions for the characters of Fredo and Tom Hagen.
Winegardner didn't have a lot of space to work with in this novel to fit his blueprints of going between the first two godfather films without writing for the movie characters like "roth and Ola and fellegi" Instead he creates some characters of his own, but is forced to cookie cutter wrap them up so that it makes sense why none of them ever show up visually in the godfather part 2 movie. Anybody who enjoyed the godfather book and movies should read this book, but how much literary value it holds is really up to the individual. I thought this novel had a couple of pretty memorable well written events. In the tradition of the original godfather novel which had contained several chapters detailing the younger years of Vito Corleone, (as illustrated by the De Niro scenes in the G-2 movie) Winegardner holds to the tradition by writing chapters detailing Michael Corleone's youth in the Bronx and also his war experiences in the pacific. Obviously Hollywood is never going to make a movie of this book but i for one would be willing to pay a few bucks to watch an animated version of this book using the animation that was used in the godfather video games. (I mean this with the utmost sincerity)
He carefully crafted a timeline for two sequels to take place during the gaps left between the first movie and the second. And then a second novel to be set between the second movie and the third. Going into this novel "Returns" the reader can't really be sure what they are going to get in terms of writing content. Winegardner elects to use quite a few pages to recount events from the original novel through the unaware voices of other characters in 1950's America. The grief that I have with these flashbacks is that when this novel was published 30 years after the godfather 2 movie, i would believe it would be rightful to assume that the reader remembers these events as clearly as they remember the birth of their own children and to recap them is flat out redundant. The reader may have read the book more than once, but undoubtedly has seen the movie at least 3 times over the course of 30 years. Inevitably some readers out there may have viewed the movie 30 time in 10 years (we know what happened... you don't need to waste time recounting)
But with that aside, Winegardner had a couple of strengths in this novel, he attempts to emulate Mario Puzo's style in some places which is greatly appreciated, and he also insures to bring back the obscure characters from the novel who either were not shown in the godfather films, or were of limited story when shown. Winegardner brings back Johnny Fontane, his physician the abortionist, and a few others. He builds stories around the other members of the "commision" from around the nation, mentioned only in passing by Puzo in his original novel and same to be said of Brando's introduction of them in the film. Much of Winegardner's development is used behind the later life of Sonny Corleone's twin daughters who appear visually in all three movies but never really had any lines. The author appeared afraid or unsure of how to write the character of Connie Coreleone in this novel, and at some points a reader may feel he took too much "liberty" in developing his own dialogue and actions for the characters of Fredo and Tom Hagen.
Winegardner didn't have a lot of space to work with in this novel to fit his blueprints of going between the first two godfather films without writing for the movie characters like "roth and Ola and fellegi" Instead he creates some characters of his own, but is forced to cookie cutter wrap them up so that it makes sense why none of them ever show up visually in the godfather part 2 movie. Anybody who enjoyed the godfather book and movies should read this book, but how much literary value it holds is really up to the individual. I thought this novel had a couple of pretty memorable well written events. In the tradition of the original godfather novel which had contained several chapters detailing the younger years of Vito Corleone, (as illustrated by the De Niro scenes in the G-2 movie) Winegardner holds to the tradition by writing chapters detailing Michael Corleone's youth in the Bronx and also his war experiences in the pacific. Obviously Hollywood is never going to make a movie of this book but i for one would be willing to pay a few bucks to watch an animated version of this book using the animation that was used in the godfather video games. (I mean this with the utmost sincerity)
October 4, 2018
A curious read, which brings with it a number of crises.
I love the films, and Puzo's original novel; this book (which is fair but nowhere near their level) reconfigures some aspects from the film series: Kay backtracks on her claim that she had an abortion. Here, she says she had a miscarriage and lied to hurt Michael. I think the revelation of an abortion in the 2nd film was more powerful. Does this override it, or can I decide that Kay is lying here, so as to make Michael feel bad about killing the doctor whom he believes did the abortion.
Here, Fredo is bisexual. I never read Cazale's performance in that way - because he never meant it to be taken that way. Cazale's performance is immaculate, so this doesn't sit right.
Also, Fredo is set up by a new character to betray Michael, to give Michael the fate worse than death of having killed his brother. This takes away some of the tragic poignancy of the Fredo story.
Sonny has twin daughters, one of whom turns out to be a cold blooded killer (kind of out of nowhere). Is this now a story about there being something genetic in this family's psychopathy, rather than being about decisions which lead to evil and spiritual damnation?
The other big thing is the mixing of reality with fiction. Johnny Fontaine is so Sinatra here that it's impossible to think of him as anyone else. And there's a mafia-linked President, Shea, who is clearly Kennedy. But Ella Fitzgerald and other real people are mentioned. What are the rules here - can you just base fictional characters on real people when you want, and use real people at the same time? It doesn't quite feel consistent.
The book isn't well organised, and the films are masterpieces of structure. The story here is complicated rather than complex. But some of the plot-lines are interesting enough and there's a few really strong sequences.
I read it because I wanted more Corleone action. Now I'm not so sure I should have, because it feels a bit as if the story I admire and love is altered. What is the reader to think about "official' product which takes a loved story in directions you don't like and which was not written by the original instigators?
I love the films, and Puzo's original novel; this book (which is fair but nowhere near their level) reconfigures some aspects from the film series: Kay backtracks on her claim that she had an abortion. Here, she says she had a miscarriage and lied to hurt Michael. I think the revelation of an abortion in the 2nd film was more powerful. Does this override it, or can I decide that Kay is lying here, so as to make Michael feel bad about killing the doctor whom he believes did the abortion.
Here, Fredo is bisexual. I never read Cazale's performance in that way - because he never meant it to be taken that way. Cazale's performance is immaculate, so this doesn't sit right.
Also, Fredo is set up by a new character to betray Michael, to give Michael the fate worse than death of having killed his brother. This takes away some of the tragic poignancy of the Fredo story.
Sonny has twin daughters, one of whom turns out to be a cold blooded killer (kind of out of nowhere). Is this now a story about there being something genetic in this family's psychopathy, rather than being about decisions which lead to evil and spiritual damnation?
The other big thing is the mixing of reality with fiction. Johnny Fontaine is so Sinatra here that it's impossible to think of him as anyone else. And there's a mafia-linked President, Shea, who is clearly Kennedy. But Ella Fitzgerald and other real people are mentioned. What are the rules here - can you just base fictional characters on real people when you want, and use real people at the same time? It doesn't quite feel consistent.
The book isn't well organised, and the films are masterpieces of structure. The story here is complicated rather than complex. But some of the plot-lines are interesting enough and there's a few really strong sequences.
I read it because I wanted more Corleone action. Now I'm not so sure I should have, because it feels a bit as if the story I admire and love is altered. What is the reader to think about "official' product which takes a loved story in directions you don't like and which was not written by the original instigators?
This entire review has been hidden because of spoilers.
July 18, 2020
Seeing the rating details and some reviews beforehand, I expected this to be a disappointing sequel to an amazing book. Pretty soon after I started reading The Godfather Returns however, I found myself being really involved in the story and characters that Mark Winegardner brings to us. This positive vibe did not drop for the remainder of the novel, resulting in a surprisingly positive review.
I absolutely love the first novel and the movie it inspired. The fact that Puzo's follow-up The Sicilian was both quite different and interesting is very positive, but this book actually feels like a direct sequel that could have been used as the basis for a second movie. I must stress that The Godfather Part II is amazing and perfect in almost every aspect, making it almost unfair to draw comparisons, but looking at this as a separate entity lead me to the conclusion that it is way more interesting than expected.
The author uses the characters we've gotten to know and both expands on their arcs and introduces new sides to them. I found it pretty interesting that some characters and plot points from the second movie are referenced here, while the main story is quite different. I even enjoyed Johnny Fontane this time around, which was by far the weakest character in the original novel. It was a smart move of Coppola to cut him out of the movie screenplay, but this version was intriguing.
Eventually the first book is definitely much better and The Godfather Returns cannot withstand the comparison, but I really enjoyed it. Give it a chance if you like Puzo's classic novel.
I absolutely love the first novel and the movie it inspired. The fact that Puzo's follow-up The Sicilian was both quite different and interesting is very positive, but this book actually feels like a direct sequel that could have been used as the basis for a second movie. I must stress that The Godfather Part II is amazing and perfect in almost every aspect, making it almost unfair to draw comparisons, but looking at this as a separate entity lead me to the conclusion that it is way more interesting than expected.
The author uses the characters we've gotten to know and both expands on their arcs and introduces new sides to them. I found it pretty interesting that some characters and plot points from the second movie are referenced here, while the main story is quite different. I even enjoyed Johnny Fontane this time around, which was by far the weakest character in the original novel. It was a smart move of Coppola to cut him out of the movie screenplay, but this version was intriguing.
Eventually the first book is definitely much better and The Godfather Returns cannot withstand the comparison, but I really enjoyed it. Give it a chance if you like Puzo's classic novel.
September 25, 2011
When I think of the Godfather I think of action packed mafia style war. I remember the surprising jumps into the future where the details are explained in later chapters. I think of characters that I like or even love and the concept of respect. This book does not give me the same feeling. I understand that Winegardner is partly trying to fill in the gaps between the movies and the original. It just doesn't have the same style that made the Godfather so thrilling. I believe that the plot is solid and with some changes with the way the book was written could be the difference between what was produced and what Puzo could have produced.
October 25, 2025
Christ, where to even start? I need all the "Frank Herbert Only" Dune Purists to look at how badly this sequel (written after the film trilogy had fully wrapped) was botched and then immediately go apologize to Brian Herbert. At least you all have an expanded universe that--while it can get tedious--largely makes sense and first-and-foremost: REMEMBERS ITS OWN LORE.
How Winegardner even got the job of writing this book with the blessing of the Puzo estate (ignoring Paramount) is beyond baffling. This is the work of someone who watched The Godfather once, twenty years ago, "as I recall I think we both kinda liked it," and said fuck yeah give me this job by virtue of [redacted but probably something very ~masculine~], and then proceeds to write officially sanctioned fanfiction of the highest Bullshit caliber.
1. The book doesn't understand canon. The timeline between Puzo and Coppola has always been an exercise in frustration, but this book takes that whole discussion, lights it on fire, and tries to present the ashes as ground diamonds when it'll never be anything but an air pollutant. The timeline of the Corleone family births make no sense, first off. Second, Michael's "backstory" is a laughable mess of "lets throw every WW2ism into a Gary Stu, who's going to argue with me?" Winegardner can't even remember Michael's canonical college established by Puzo,, how can we expect this book to respect any other canon established beyond that? (Michael was a CAPTAIN, Mark, not a 2ndLt, but what would I know being a woman and all? I know nothing about that "raw masculine power" or whatever).
2. This is NOT Michael Corleone. Not in personality, not in dialogue, and certainly not in anything approaching canon. The only time he comes close is in his interactions with his niece Francesca. Otherwise, his choices are asinine and beyond stupid, his dialogue is stilted to the point where we all owe prequel George Lucas an apology too, and his backstory is such hyper-toxic-masculine-drivel. My Michael Corleone is not a wannabe Sigma so up his own ass he can't see straight. My Michael Corleone was smart enough to not make half these decisions, and he CERTAINLY NEVER TREATED TOMMY LIKE THIS EVER IN HIS LIFE?????????
3. Absolutely confusing what this book is even trying to do. Is it trying to connect the original novel to the second and third films? Is it trying to rewrite the films? Is it trying to disregard them? Who the fuck knows.
4. JESUS, THE HAMFISTED JFK METAPHOR, YOU GUYS. WINEGARDNER IS SO SERIOUS ABOUT HIS ALT. HISTORY, HOW WOULD YOU KNOW WITHOUT A JFK METAPHOR AND CONSTANT SHOEHORNING IN OF THE COLD WAR? I can't read any of Jimmy Shea's lines without envisioning Mayor Quimby. Jesus Christ.
5. What in the actual Catholicism is any of the religion depicted in this nonsensical Wattpad reject of a novel?
6. What in the rewriting of Kay's motive is this? Sorry, Mark, she is not the victim here and never will be. Doesn't matter if you try to magically soften the blow after the fact, she still weaponizes her children, and I'm just supposed to accept Michael's spine suddenly breaking and giving her custody? (I hate GF Part 3 for this too, but at least Michael held out a few goddamn years then).
The only enjoyable thing about this was the rise and celebration of feral Francesca Corleone as her father's spiritual successor and proof positive that Michael is a girldad both to Mary and to his favorite niece. I hate everything else about this.
How Winegardner even got the job of writing this book with the blessing of the Puzo estate (ignoring Paramount) is beyond baffling. This is the work of someone who watched The Godfather once, twenty years ago, "as I recall I think we both kinda liked it," and said fuck yeah give me this job by virtue of [redacted but probably something very ~masculine~], and then proceeds to write officially sanctioned fanfiction of the highest Bullshit caliber.
1. The book doesn't understand canon. The timeline between Puzo and Coppola has always been an exercise in frustration, but this book takes that whole discussion, lights it on fire, and tries to present the ashes as ground diamonds when it'll never be anything but an air pollutant. The timeline of the Corleone family births make no sense, first off. Second, Michael's "backstory" is a laughable mess of "lets throw every WW2ism into a Gary Stu, who's going to argue with me?" Winegardner can't even remember Michael's canonical college established by Puzo,, how can we expect this book to respect any other canon established beyond that? (Michael was a CAPTAIN, Mark, not a 2ndLt, but what would I know being a woman and all? I know nothing about that "raw masculine power" or whatever).
2. This is NOT Michael Corleone. Not in personality, not in dialogue, and certainly not in anything approaching canon. The only time he comes close is in his interactions with his niece Francesca. Otherwise, his choices are asinine and beyond stupid, his dialogue is stilted to the point where we all owe prequel George Lucas an apology too, and his backstory is such hyper-toxic-masculine-drivel. My Michael Corleone is not a wannabe Sigma so up his own ass he can't see straight. My Michael Corleone was smart enough to not make half these decisions, and he CERTAINLY NEVER TREATED TOMMY LIKE THIS EVER IN HIS LIFE?????????
3. Absolutely confusing what this book is even trying to do. Is it trying to connect the original novel to the second and third films? Is it trying to rewrite the films? Is it trying to disregard them? Who the fuck knows.
4. JESUS, THE HAMFISTED JFK METAPHOR, YOU GUYS. WINEGARDNER IS SO SERIOUS ABOUT HIS ALT. HISTORY, HOW WOULD YOU KNOW WITHOUT A JFK METAPHOR AND CONSTANT SHOEHORNING IN OF THE COLD WAR? I can't read any of Jimmy Shea's lines without envisioning Mayor Quimby. Jesus Christ.
5. What in the actual Catholicism is any of the religion depicted in this nonsensical Wattpad reject of a novel?
6. What in the rewriting of Kay's motive is this? Sorry, Mark, she is not the victim here and never will be. Doesn't matter if you try to magically soften the blow after the fact, she still weaponizes her children, and I'm just supposed to accept Michael's spine suddenly breaking and giving her custody? (I hate GF Part 3 for this too, but at least Michael held out a few goddamn years then).
The only enjoyable thing about this was the rise and celebration of feral Francesca Corleone as her father's spiritual successor and proof positive that Michael is a girldad both to Mary and to his favorite niece. I hate everything else about this.
August 6, 2025
“Ahora, en vez de bichos zumbantes, lo que había eran sirvientes a bordo de carritos de golf que traían cerveza fría y toallas mullidas. A Hagen le recordaba esas historias que había leído sobre la antigua Roma, donde los emperadores refrescaban sus palacios en verano gracias a esclavos que arrastraban toneladas de nieve traída de las montañas. Otros esclavos se quedaban junto a las moles de nieve de día y de noche, agitando grandes abanicos de papiro. Para un rey no existen lugares inhóspitos en ningún rincón de la Tierra.”
Esa frase es lo único destacable de este libro (y eso que no es una frase más que del montón).
Se supone que esta novela cuenta o relata lo que no se vio en el libro original de Puzo ni en las películas de Coppola… pero la verdad es que realmente se siente como un fanfiction de tres al cuarto.
Los capítulos son largos al divino botón, los personajes planos (hasta el punto de arruinar el trabajo del autor original) y la historia sin sentido.
Kay es mostrada como una esposa malhumorada, en vez de esa esposa que se muestra en el último capítulo de la novela original, que reza por el alma de su marido.
Michael no tiene nada de ese personaje que creó Puzo, al igual que Tom Hagen . Fredo siendo bisexual no podría importar menos. Johnny Fontaine es el personaje más plano de todos.
Lo único que habría válido la pena es la trama de una de las hijas de Sony … si no fuera porque se supone que es un libro de gángsters. ¿Se dieron cuenta que no puse como corno se llamaba? ¡Por qué no me acuerdo su nombre!
2/10 (1/5 ✨) es la nota. Porque agradezco mucho haber pedido prestado este libro y no haber invertido en él más que solo tiempo perdido. Con lo que resultó este chasco, queda oficialmente terminado aquí mí camino por esta serie. No voy a seguir con estos libros.
Esa frase es lo único destacable de este libro (y eso que no es una frase más que del montón).
Se supone que esta novela cuenta o relata lo que no se vio en el libro original de Puzo ni en las películas de Coppola… pero la verdad es que realmente se siente como un fanfiction de tres al cuarto.
Los capítulos son largos al divino botón, los personajes planos (hasta el punto de arruinar el trabajo del autor original) y la historia sin sentido.
Kay es mostrada como una esposa malhumorada, en vez de esa esposa que se muestra en el último capítulo de la novela original, que reza por el alma de su marido.
Michael no tiene nada de ese personaje que creó Puzo, al igual que Tom Hagen . Fredo siendo bisexual no podría importar menos. Johnny Fontaine es el personaje más plano de todos.
Lo único que habría válido la pena es la trama de una de las hijas de Sony … si no fuera porque se supone que es un libro de gángsters. ¿Se dieron cuenta que no puse como corno se llamaba? ¡Por qué no me acuerdo su nombre!
2/10 (1/5 ✨) es la nota. Porque agradezco mucho haber pedido prestado este libro y no haber invertido en él más que solo tiempo perdido. Con lo que resultó este chasco, queda oficialmente terminado aquí mí camino por esta serie. No voy a seguir con estos libros.
February 1, 2022
I can't get enough of "The Godfather", so I read this sequel, and it took me a long time because it's not very good.
I gave it two stars because some of it was interesting. It gave more detail about the execution of Tessio, which was interesting. But the author took many liberties with the characters and story that are not consistent with the original material.
In "The Godfather", Fredo got in trouble with Moe Greene because he was "banging cocktail waitresses two at a time". But in this novel, he's bisexual?
One of the most dramatic parts of "The Godfather Part II" was when Kay revealed to Michael that she had not had a miscarriage: "It was an abortion, Michael!" In this novel, the author reveals that Kay didn't really have an abortion. So he's negating one of the climaxes of the movie.
Then there's Tom Hagen ... he was a congressman before the events of "The Godfather Part II", but he's also a killer now? Come on.
This novel covers some of the time between "The Godfather" and "The Godfather Part II", some of Michael's history before "The Godfather", and there's a plot about trying to execute Castro that takes place after "The Godfather Part II". Oh, and there are fictional versions of JFK, RFK, and their father ("The Ambassador"). None of these plots nor the new characters held my interest. My favorite parts were when the characters we already knew, like Clemenza, were featured, although Clemenza's death here had nothing to do with the Rosato brothers, who aren't in the novel at all. There's also a ridiculous plot involving Santino's daughters that ends ... well, I won't spoil it, but it's absurd.
This is not a welcome addition to "The Godfather" canon. I have to consider whether I want to bother reading the novel that followed this one.
I gave it two stars because some of it was interesting. It gave more detail about the execution of Tessio, which was interesting. But the author took many liberties with the characters and story that are not consistent with the original material.
In "The Godfather", Fredo got in trouble with Moe Greene because he was "banging cocktail waitresses two at a time". But in this novel, he's bisexual?
One of the most dramatic parts of "The Godfather Part II" was when Kay revealed to Michael that she had not had a miscarriage: "It was an abortion, Michael!" In this novel, the author reveals that Kay didn't really have an abortion. So he's negating one of the climaxes of the movie.
Then there's Tom Hagen ... he was a congressman before the events of "The Godfather Part II", but he's also a killer now? Come on.
This novel covers some of the time between "The Godfather" and "The Godfather Part II", some of Michael's history before "The Godfather", and there's a plot about trying to execute Castro that takes place after "The Godfather Part II". Oh, and there are fictional versions of JFK, RFK, and their father ("The Ambassador"). None of these plots nor the new characters held my interest. My favorite parts were when the characters we already knew, like Clemenza, were featured, although Clemenza's death here had nothing to do with the Rosato brothers, who aren't in the novel at all. There's also a ridiculous plot involving Santino's daughters that ends ... well, I won't spoil it, but it's absurd.
This is not a welcome addition to "The Godfather" canon. I have to consider whether I want to bother reading the novel that followed this one.
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