Greg Cwik has a nice piece on “Pacino’s Way”:
Though Marlon Brando was the ostensible star of the first Godfather—it’s his sullen and sapiential face that adorns the poster, and he who took home an Oscar—the trilogy really belongs to Pacino’s Michael. It’s the story of a man whose potential for greatness transmogrified into evil, slowly and heartbreakingly—of the college boy, the war hero, following not in his father’s footsteps, but in a disfigured image of his shadow. Cinematographer Gordon Willis’s crepuscular lighting throws upon Michael a visual dichotomy, half basked in golden light and half shrouded in shadows. As The Godfather progresses, he veers increasingly into darkness until he emerges, alone, into an autumn afternoon, left to ponder his iniquitous decisions.
Despite the composed, sometimes phlegmatic demeanor of Michael Corleone, that simmering indolence and careful elocution, something seethes behind his eyes: a sufferance for violence. All of Pacino’s great characters have the potential to hurt or maim or kill, usually out of necessity or a particular sense of pragmatism—a rarefied dangerousness. Pacino has a tragic air about him. One feels it in his stare: an overcompensation for some unuttered anxiety or self-doubt in all that shouting that typifies much of his raspy-voiced later work. There’s a protean quality to Pacino’s acting. Like his great characters, these unrelenting professionals, he isn’t unwilling to do what’s necessary: to explode when his instincts command him to, to recede into placidity when the scene calls for it. Bespoke or bedraggled, garbed in elegant suits or a leather vest, he emanates a peculiar masculinity, a kind of vulnerability.