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Crime, Drama, Thriller
IMDB rating:
Francis Ford Coppola


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Al Pacino as Don Michael Corleone
Robert Duvall as Tom Hagen
Diane Keaton as Kay Adams Michelson
Robert De Niro as Vito Corleone
John Cazale as Fredo Corleone
Talia Shire as Connie Corleone Rizzi
Lee Strasberg as Hyman Roth
Michael V. Gazzo as Frankie Pentangeli
G.D. Spradlin as Senator Pat Geary
Richard Bright as Al Neri
Gastone Moschin as Don Fanucci
Tom Rosqui as Rocco Lampone
Bruno Kirby as Young Peter Clemenza
Frank Sivero as Genco Abbandando
The Godfather: Part II Storyline: The continuing saga of the Corleone crime family tells the story of a young Vito Corleone growing up in Sicily and in 1910s New York; and follows Michael Corleone in the 1950s as he attempts to expand the family business into Las Vegas, Hollywood and Cuba.
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Considered by some
Critics to be better than the original artistically at least. I am still not sure myself but they may be right. It continues the legacy of the Corleone Family and digs into the roots of their criminal empire. There are a series of flashbacks and that could be confusing to some and to be honest I'm not sure that was positive for the flow of the picture but who am I to criticize that. There is more violence here than in the first Godfather and several scenes, like the original, feature real life events. I personally like the first one better probably because of Brando but I will watch both without reservation. Pacino shines here as brightly as in the first one and DeNiro gives it some much needed weight to replace or more accurately continue Brando's character. It is also much sadder than the first in my opinion and shows the misery and depravity of young Vito's life and why he was what he was. It is a true masterpiece.
Coppola Puts Himself In The Pantheon With Epic Part II Of The Saga
It's hard to give an objective review when you are dealing with favourite movies. Having just watched this for the first time in years I was delighted to see it was as magnificent as I remembered it. Francis Ford Coppola would have been sensible to be wary of doing a sequel when he'd just made a film as acclaimed as The Godfather. How do you follow that? Amazingly he managed to broaden the themes of the original, producing a study of power and corruption that may be unequalled in Hollywood history. And whereas some critics found the first film questionable in its moral compass (is Michael supposed to be a hero?) the sequel leaves us in no doubt that he has passed on into something else and as his wife Kay shrewdly notices, there is no coming back. Judge the film on its own merits and ignore the continuation of the saga in Part III. This is the final Michael as we should always remember him.

The scope of Part II is extraordinary (as if the first film wasn't bold enough!) with the story of father Vito in 1920s New York cross- cut with son Michael's rivalry with ageing mobster Hymen Roth, a respected, though never trusted, business partner of his father. These later sequences may not make sense on first viewing but there are some remarkable set pieces from revolutionary Cuba to a Senate committee in Washington. This is a no holds barred portrait of American society corrupt and hypocritical from top to bottom. How often has Hollywood been so daring

The film invites a contrast between father and son, with young family man Vito embracing criminality out of necessity and using his status to become a 'Godfather' in the Italian American community. Meanwhile in his middle age Michael has become a Don hooked on vengeance with all business now personal. The inevitable conclusion of which is a violent crescendo with him not just wiping out his enemies (again) but committing the far worse sin of betraying his own family.

Few films can have gathered such a fine cast. Al Pacino's Michael is the symbol of idealism turned sour in extremis. More than anything this is what elevates The Godfather over so many other gangster films. He's not just some Goodfella or ordinary guy, he once aspired to be a great man but somewhere something went wrong. Robert Duvall as Tom Hagen is the great constant across the two films, always at the side, never changing, but in his reaction to the transformation of Michael we get confirmation of his moral decline. Diane Keaton as Kay has a meatier role this time and as the voice of 'respectable' America shows the futility of Michael's actions. If he can't keep his family together, what's it all for? John Cazale's Fredo is a tragedy of his own. Secretly resentful of his younger brother, their mutual betrayal becomes one of the emotional cores of the saga. Replacing the character of Clemenza proved relatively easy as even if the story loses something, Michael V. Gazzo was memorable whilst the legendary Lee Strasborg is a suitably cast as rival/partner and pretend Uncle to Michael Hymen Roth, delivering one of the movies' great speeches.

So often artists seem burdened by great achievements, but not here. One can only assume that the young Coppola was so exulted by the critical and commercial phenomenon of The Godfather, he felt capable of anything and judging by this, he near enough was. One only wonders why he's largely struggled to reach similar heights ever since.
Truly a masterpiece
Often seen as possibly a greater film than even "The Godfather" this film is truly remarkable. Part of the film is a pre-quel, with Robert De Nero playing a young Marlon Brando (is that a dream casting or not?) partly it's the story of Michael Corleone as he grows into the role of Godfather. Again brilliantly filmed, great acting, a great story of love revenge etc. but in some ways it's harder to sympathise with Michael as he slips further into a hell of revenge and murder. Like watching a car-crash.
Not being mean here but of the worst films I have ever scene.
About six months ago I watched the Godfather Part I and to tell you the truth I thoroughly enjoyed, It had good cast, good story but still not worth number two on IMDb's top 250 and technically every top 100 film list on the web but still I must give it some credit. However today 15.7.12 I layed my eyes upon the masterpiece of terrible films I mean it truly is shockingly boring. I kept waiting for something to happen and nothing ever did.

Robert De Niro's role: My second favourite actor of all time after Jack Nicholson who does proud in practically ever film I've seen with De Niro in until today. I mean what in Gods holy name did he win an Oscar for this pile of **beep** he wasn't even in half the film. Thoroughly disappointed, no wonder he didn't appear at the Academy Awards because he probably thought what the hell I am I doing winning an Oscar for the worlds most boring films ever. He probably felt embarrassed.

How people and watch that film and actually enjoy it is beyond me. I don't think I am exaggerating either to be completely honest I only watched the film to the end to see if Michael Corleone died to boy was he getting on my nerves.

I sorry if I have offended anyones opinion but if you want to sit and enjoy a film watch Pulp Fiction which by the way on paper if one worse that The Godfather Part II.
A rare sequel that improves on its absolutely brilliant predecessor in every respect
One of the best sequels of all time and the only Best Picture winner to be the sequel to a previous one, this film improves on its absolutely brilliant predecessor in every respect. Al Pacino is mesmerising as Michael Corleone and Robert De Niro gives a fantastic performance as his father Vito Corleone in the prequel storyline, which won him his first Oscar. The character was very recognisable as a younger version of the Godfather from the first film but De Niro still managed to put his own stamp on the role. Incidentally, Pacino is one of only two actors to be nominated for both Best Actor and Best Supporting Actor for playing the same character, the other being Barry Fitzgerald who was nominated for both awards for playing Father Fitzgibbon in "Going My Way". The writing and direction are once again of an extremely high quality.

I've watched nine films which ran 3+ hours long so far this year and this is one of the best structured of those. There is a not a minute that drags. The two story lines are excellent and I loved the depiction of Michael's moral decay. My favourite scene in the film is the extremely powerful one where Kay tells Michael that she is leaving him and she aborted their child when she discovered that it was a boy as she did not want to perpetuate the next generation of Corleones. I think that Diane Keaton deserved a Best Actress nomination for the film. I was surprised that Talia Shire got a Best Supporting Actress one as, while she is excellent as Connie, she has such little screen time. Besides De Niro, the two strongest newcomers were Lee Strasberg - the legendary acting teacher who taught Pacino, De Niro, James Dean and Marilyn Monroe, among many others - and Michael V. Gazzo. Both of them were nominated for Best Supporting Actor but lost to De Niro. I thought that Robert Duvall deserved one too as his performance was even better than in the first film but I suppose that they needed to let other films get a look in!
More ambitious and grand in scope, Part II packs a powerful emotional punch
Given complete control over the directorial proceedings by Paramount, and a much larger budget to boot, you would be forgiven to think Francis Ford Coppola had it good when, two years after the release of The Godfather, the studio convinced him to direct The Godfather: Part II. Despite this free reign, Coppola still faced challenges – most important being the daunting task of matching the first picture, creatively and financially. There are many critics who regard the second part of the Corleone saga as not only equal, but superior than the first, and while I don't think Part II is as "classic" as it's original, I can concede without hesitation that this is the more ambitious and grand in scope, and certainly more powerful as an exercise in tragedy.

The Godfather: Part II continues the story of Michael Corleone (Al Pacino), established in the end of part one as the new Don of the Corleone crime family, who has moved all their interests out to Nevada. Michael looks to expand his empire and invest in businesses in Havana and Miami, where Hyman Roth (one of his father's aging ex-partners) resides. When betrayal comes from where he least expects, Michael must make decisions and sacrifices, however difficult, to save his family, and in doing so will perpetually change who he is as a person. Throughout Michael's ordeal, Coppola flashes back to the turn of the century, where a young Vito Corleone (then Vito Andolini) must flee Sicily when he becomes hunted by the local Mafioso at the age of only nine. As an immigrant, we are shown the rise of Vito (Robert De Niro from young adulthood onwards) as a man of respect, loyalty, enormous generosity and ever growing authority on the streets of New York.

Coppola must be given due for the transitions between the two parallel story lines, which are absolutely seamless. They come at natural breaks so as to not take away from the pacing of either narrative, and the episodic approach to covering thirty-odd years in the young Vito storyline is perfect for keeping the audience on the edge of their seats for the developments in the Michael story. With the interconnectedness of the narrative, Coppola encourages a contrast of the way Michael and Vito take control of their respective families – what decisions they make, what they value – and this helps to further punctuate and underline the film's harrowing final scenes.

In keeping with the tone of the first picture, Part II sees the return of Gordon Willis' dark, under lit photography, and Nino Rota's memorable, distinctive score (largely utilising the same cues as the first, with the addition of a few new themes including the magnificent "The Immigrant"). The acting across the board is quality – just as it was in the original. John Cazale has a larger role here as Fredo, whose outburst at being stepped over as the family Don is as forceful and potent as any in his regrettably short career. Newcomers to the picture give excellent supporting turns, Michael Gazzo as caporegime Frank Pentangeli and Robert De Niro as Vito Corleone, preserving Brando's famous gesture and manner, but it's Al Pacino's picture through and through – his Michael is so intense, but yet is an empty shadow of his former self. By the end of the picture, Pacino's beady black eyes are cold: completely stripped of life, and reflect upon the tragedy of the loss of the family he committed all his power to trying to protect. It's a haunting, powerful, parting frame that lasts.
One of the best sequels ever made
An excellent follow up to the original, The Godfather Part II continues where the first film left off and explores the rise of Vito Corleone in a series of flashbacks that, for the most part, correlate with what is presently happening to Michael Corleone (Pacino) his son and successor. This is a beautifully produced piece of film, and while I still prefer the first installment, simply because of the story content, it is every bit as good. This film is best when watched together with the first film – if your body can stand it. Even better, watch the third one as well for a little closure and so you can argue over whether it's a good film or not. (I myself personally like the third film, but not as much as the first two.)

Parts of the Book That Were Left Out in Part One...
...are included in Part II. This movie gives you the backstory of Vito Corleone's rise to power, from the time his father is murdered in Sicily until he "makes his bones" and creates his own empire in the United States. Robert DeNiro is very convincing as young Vito Corleone in what was, if memory serves correctly, is his big screen debut. I was almost convinced he was somehow related to Marlon Brando, he had the voice, the looks, the mannerisms, everything. Couple this with another story not included in the book of betrayal within the family while Michael tries to make a move in pre-Castro Cuba and you have a sequel that is every bit as good as the original. Michael has been stripped of all his humanity in this story, and he comes across as being a cold and heartless human being, one who would even have his own brother killed to preserve his nefarious empire. The ending is heartbreaking because he realizes that he lost his family trying to save it. And the soundtrack in this movie is even better than the original GODFATHER soundtrack. For the third time, I'm going to give a perfect 10 to this movie.
This should be #1 in the top 250 here in IMDb.
"The Godfather" is basically the bridge that connects to stories in this movie.This movie takes you to the origins of Don Corleone and gave you an idea of how he rose to power and how respected he was in Sicily.While "The Godfather" is a work of art, this is a masterpiece.Everything you saw in the original movie plus more.A lot of character development, strong performances from all actors and great storytelling exist in this Dark Drama.Al Pacino, Robert De Niro, Robert Duvall and the rest are all excellent in their respected roles.With a movie this good, who knew the third one would not be as good as the first one at least? Highly recommended.

My rating: 10/10
Great Movie. Another Winner from Francis Ford Copolla
Warning! Spoilers Ahead!

"The Godfather, Part II" is another gem of a movie, worthy of a place alongside its revered predecessor. This movie's strengths lie in Copolla's retention of the best actors from the first film mixed in with terrific new actors for the second. John Cazale, Lee Strasberg, Robert de Niro and Michael Gazzo are given their moment to shine here, and play credible and unforgettable characters. Al Pacino, Diane Keaton, and Robert Duvall reprise their roles from the first movie, and put in an equal amount of effort to the first film, which means that the second is also very good. Copolla had a lot more creative freedom with this picture, but it doesn't differ much from the first in terms of style and camera angles. Still, the director does an admirable job crafting an interesting and wonderful film.

Pacino's Michael Corleone is, in the first, a quiet and understated character most of the time, only this time, whenever the character is riled by a tragic event, Pacino lets out his infamous "scream" to emphasize that his character is like a dangerous time bomb with an unpredictable temper: one minute he's calm, the next he's in a rage. Unfortunately, Pacino is most remembered for his loud, bombastic performances rather than his understated quiet ones. Keaton appears to have less screen time, but, like her husband Michael, undergoes a credible transformation from the naive, submissive character we remember from Part I into an assertive, strong woman who will not give in to her husband. She asserts control over her own body by aborting her baby rather than letting Michael have another heir to his criminal empire. Again, Keaton's performance is usually cited as the weakest of the "Godfather" saga, but this seems unfair, and she does well whenever she has screen time. Robert Duvall is back with another excellent turn as Corelone family adviser Tom Hagen.

The new faces do very well here, and again, Copolla was blessed with an excellent cast. Gazzo is simply delectable as mobster Frank Pentangeli, one of cinema's most memorable characters. One minute he's a lovable old man, sometimes seeming as dopey and sweet as your great-uncle, asking the band to play an Italian "tarantella"; the next he's viciously asking for the blood of the Rosato Borthers. He, ultimately, cows to Michael's control during a Senate hearing, just as he is about to rat him out.Gazzo, a prolific playwright, showed he had the chops as an actor as well. Another memorable performance is the Italian actor who played the gangster Don Fanucci, a dandy tyrant who shakes down Italian immigrants for protection money. He, like the guy who played "The Turk" Solozzo in Part I, is a convincing actor who can make a slimy villain come to life. He seems to relish his role as the white coated mobster who confidently rules the neighborhood with an iron fist. Less potent is Lee Strasberg's Hyman Roth, who, after Don Fanucci, is the film's main antagonist. Roth's true evil is only revealed in other characters' dialogue and indirect screen action rather than anything we see Roth do on the screen. I wasn't fully convinced that Roth was a cunning double-crosser, as we don't actually see him engage in the double-cross. Strasberg gives an understated performance as the kingpin of the pre-Castro Havana casinos (an obvious representation of real-life gangster Meyer Lansky). Still, Strasberg does have some memorable moments, such as the famous "This is the Business We've Chosen" speech he gives to Michael.

Fresh performances from John Cazale and Robert de Niro round out this movie. We don't see much of Fredo in Part I, but he's essential to Part II. Cazale gives a memorable performance as the meek, weak, sweet, but ultimately treacherous middle brother of the Corleone family. His flaws include his lack of intelligence and possible naiveté, which ultimately result in his being a pawn in Roth's scheme to kill Michael. Fredo wants the keys to the kingdom, but will settle for some power, and Roth apparently offered him something special for his services. All Fredo says is that "there was something in it for me!", but what this was is rather vague; still, Fredo's ties with Roth are enough for Michael to commit the darkest murder he will commit in the saga: fratricide. We almost feel sorry for Fredo as he sweetly tells his nephew how to catch a fish by reciting a "Hail Mary," right before Michael has one his goons shoot him from behind on a fishing trip. Fredo may be the rather weak and dopey member of the Corleone clan, but Cazale also manages to humanize Fredo and make a memorable performance as the ultimately tragic odd man out in the "family business."

Part II carries with it a sadder tragedy than Part I, as Michael "loses his family," in terms of his wife's abortion and departure, and Fredo's treachery and his eventual murder. It is in Part II that we see the full scope of the perils of a life of crime in terms of keeping a family together. Even Don Vito, while running a criminal empire, was able to somehow keep his family glued together. We see the sad irony when Michael's mother tells him "you will never lose your family."

This is an excellent movie, much like the first one. Copolla does well here. (Copolla's further career is debatable. Radio host Phil Hendrie once gave a hilarious criticism of Copolla's career: "what do you mean 'Charlie don't surf?!'") He directs beautifully here, and the actors cooperate by giving excellent performances. This is a highly recommended movie.
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