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The Godfather: Part II
Year:
1974
Country:
USA
Genre:
Crime, Drama, Thriller
IMDB rating:
9.0
Director:
Francis Ford Coppola
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
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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1080p 1920x1080 px 20591 Mb h264 128 Kbps mkv Download
HQ DVD-rip 852x480 px 2378 Mb h.264 1500 Kbps flv Download
Reviews
Best Sequel Ever
This, perhaps the greatest sequel ever, tells the parallel stories of Michael's struggles as the new Godfather and the rise of the legendary Vito Corleone. The presentation of Vito's story is particularly impressive, with DeNiro in a fine performance. Michael's story tends to bog down at times but never fails to be compelling. Pacino is terrific, as are Duvall, Cazale, and Strasberg. The cinematography is beautiful and Rota builds on his memorable score from the first film. Coppola pushes all the right buttons, letting the stories unfold majestically. Having made the two Godfather films by age 35, the talented director had nowhere to go but down.
2008-12-27
Terrific continuation of the "Godfather" series; to call it a "sequel" almost seems insulting...
This sequel is just as terrific as the first film, if not more so. I hesitate to call it a sequel, as "sequel" is quite simply the wrong word I am looking for. A film like "The Matrix Reloaded" is a sequel - "The Godfather Part II" is something more. It's just too good to be called a sequel.

The film won six Oscars in 1974, including Best Picture and Best Supporting Actor (Robert De Niro). It deserved every one. It involves the viewer from the start and never lets up. Particular aspects I enjoy in this film are the flashbacks to Don Vito Corleone as a child immigrating to New York City after social problems in his homeland, Sicily. I like the intertwining of Michael Corleone (Al Pacino), his son, in present day, dealing with his crime inheritance, and Vito (Robert De Niro), his father, years ago. I like how, as Michael comes to terms with his family legacy, the film shows us Vito coming to terms with his future. The day he shoots that man in a gritty apartment complex is a turning point in his life.

Every actor is in top form here. Al Pacino has gradually made the move from a man who denies his future to a man who is accepting it. His character is the spotlight of this film, much more so than in the first film (though both center around his decisions).

Robert De Niro is particularly wonderful and convincing as a young Vito Corleone, who was of course played by the constantly-spoofed Marlon Brando in the original. De Niro takes an iron grip on his character and completely engulfs himself; this was, in 1974, the sign of an actor who would go places. Indeed, he did.

Coppola's magical sense of direction is at work here, as is the script by Coppola and Mario Puzo (whose novels the series is based upon). The original was a wonderful film, but the sequel presents more of a challenge. Flashbacks are often intercut in the middle of other films are awkward times, but in "The Godfather Part II," Coppola uses them at precisely the right moments, managing to careen in and out of scenes and time periods with free abandon.

It takes a great kind of skill to master something like this, much less a sequel to one of the most beloved films of all time. "The Godfather" was an instant classic upon its release in 1972. Coppola had two years to plan for his continuation of the film. People told him it wouldn't work, he would never beat the original, and he would never pull it off. But he showed them all. "The Godfather Part II" may well be the best sequel I have ever seen in my entire lifetime. I wish they were all this good. To call it a "sequel" almost seems insulting.
2003-08-23
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!
2015-05-30
A few historic flaws, but one of the best glimpses into turn-of-century NYC
What else can be said about The Godfather series? One small gripe: The storyline shows young Vito Corleone (Robert Deniro) murder the local boss, then basically take control of the neighborhood. Historically, there would have been a dozen other guys in line to take the boss's spot -- young Vito, with no real connections outside of his petty thief neighbor, would have been disposed of immediately. In real life, bosses were bred into the position or it was taken hostilely from the inside. By the era that this movie portrays, Sicilian black handers and Neapolitan Camorra (among others) were fairly organized -- But, hey, its a (great) movie :)
2010-04-09
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.
2015-01-16
One of the greatest sequels ever made
After seeing The Godfather and improving it as one of my favorite films, I wanted to get more into The Godfather so I rented this. Words can't describe how great this sequel was. The acting once again was amazing and the story and how the movie went on just never got me bored. Everything in this movie was clearly beautiful. The ending by far was my favorite when there all sitting at the table talking. There were so many great scenes like Vito when he was younger, Fredo at the lake, and many many more. You have to see this movie because it's just brilliant filmaking. It's not better than it's first film but still an extremely worth sequel.

10/10
2004-09-12
Best movie I have ever seen
I got the privilege to watch this film for the first last a few days ago. This has to be my favorite film of all time, along with one of the best films that I have ever seen.

The movie does very well in shown two different two stories in one movie. You have Michael's story of which shows his struggle in controlling one of the most powerful crime families in the United States. The second story is Vito Corleone's struggle as young boy in Sicily growing up and coming to America, and his start of the Corleone crime family.

This is a long film to watch, it took me a few days to watch it, as I watched about 30 to 40 minutes at a time.

All of the actor and actresses preformed there roles very well, and the actors and actresses who got Oscars for their roles in this movie were VERY WELL deserved. Robert De Niro does one of the best acting jobs I have ever seen in film, in my opinion one of the best actor's in 1974.

The script is well written and for the most part is easy to follow.

If you seen the first film, which is a must to understand this film, then you will like the second one, which is one of the best films of
2007-01-09
The Economics of Destiny
Sequels rarely rise to the level of the original, and almost never surpass them. This phrase has been used so often in reference to "The Godfather: Part II" – the exception that makes the rule. What is even more laudable is the fact that the original is generally considered as a landmark in the history of film.

This is one film that proves cinema to be a form of art, and not merely one of entertainment. A skilful direction from Francis Ford Coppola, outstanding performances from the likes of Pacino, De Niro, Gazzo, Strasberg, Cazale, Duvall, Keaton, Shire, memorable cinematography from Willis, a soundtrack by Rota, Coppola and Curet Alonso, and an ingenious script by Coppola and Puzo (partly adapted from his novel), make "The Godfather: Part II" stand out as a story of courage, love, treachery, and devotion, crafted in the life of the Corleone saga.

The plot follows the consolidation of power of Michael Corleone, and his desire to gain the legality of his business, and the consolidation of power of a young Vito Corleone, and his desire to build a better life for his family. The old story of the father handing his wealth to his sons, gains a new twist by allowing a positive outcome to the original story. The wealth remains in the family, but there are losses to be incurred. An ontological thesis of Pareto optimality into the organisation of social structures is subtly brought into the view, without harming the general development of the story.

"The Godfather: Part II" remains also as a text book for any actor. Al Pacino shows that temperance can be dramatic, making us empathise with his character even when made to realise the most brutal of actions. Robert De Niro is purely outstanding, in one of the best supporting performances the screen has witnessed. His charm, charisma, and vocal skills, help him achieve a complete transition to Puzo's Vito Corleone. The viewer is unarmed in the choice given between murder and love, between life and necessity. Talia Shire stands out as the lost woman in a world dominated by men.

Even if "The Godfather" is the point of reference when it comes to great cinema, "The Godfather: Part II" remains a powerful example which proves that there is always more to say in a story, and the additions can be more than surprising.
2004-02-22
Michael Corleone: Total Night
Spoilers Ahead:

I, myself, prefer the original but this is a fantastic sequel but much darker. Many were annoyed at the temporal juxtaposition of Vito and Michael. Believe me, nobody hates temporal jumping back and forth than more I do but it is used by Coppola for dramatic contrast. What you will notice is what we knew about Michael already: The Outsider. From the first, in The Godfather, he sits at the farthest periphery of the family, on the outskirts on the family. This is an existential metaphor for Michael himself. He is barely in the family, just barely. My favorite scene contains the essence to understanding Michael versus the family Patriarch Vito. At the end, after having Fredo shot, we see a flashback where Sonny, Hagen, Fredo are all sitting at the table waiting for Vito's birthday cake. When Michael tells them he has defied Vito and enlisted for WW2, Sonny has to be restrained from kicking the crap out of him. Watch Michael's contempt for Hagen, "You talked to my father about my future?" Then, they all file out leaving Michael alone in the room; fade back to the future. Coppola zooms in on Michael's face, half of it goes into total darkness. Get the Message? He is not in the family; he is a loner. The darkness is his personality; he is much more evil and ruthless than Vito.

Vito always had Fredo out of the picture somewhere, drive the car, later he sends him to Vegas to keep him away from messing up the family business. Michael will not tolerate his dangerous stupidity. Watch the contempt when Fredo lectures Michael on how he wants respect and he has been passed over. This after almost getting Michael killed twice once in his house, the other time in Cuba. This is the reason for going back and forth. Coppola wants you to see that Vito is plenty ruthless, in the killing of Fannuci, and returning for vengeance to Sicily. But Vito is the family patriarch, he simply could not kill Carlo in the original. He retired and made Michael do it. The bad news is that Michael changed from that experience. He waits to kill Fredo, just like he did for Carlo in the original. His coldness darkens the film deeply.

His cruelty to Kay, Connie, Fredo, even his own children, closing the kitchen door on her while turning and glaring at his children is not a pretty sight. The man is nothing like Vito. We see Vito making friends with Clemenza and Tessio, using his influence to protect Signora who has been ejected with her children into the street. He has a warmth and caring underneath all the evil and power on the surface. Michael Corleone is a walking iceberg; pure cold ruthless evil devoid of all forgiveness. He seeks explanation for his deviation from his mother, she tells him he can never lose his family. Michael blames the times, wrong, he is not Vito; also, he never really was nor wanted to be in this family. Vito's near assassination, in the original, sucked him into the family business. He came in but he retains his contempt and icy separation. Watch him turn on Hagen,"Are you coming with me on this, otherwise you can take your wife and your mistress and leave." This is the difference; Kay is not Mama Coreleone to him; she is a baby machine to produce heirs. This is a great movie, I simply find the depth of his evil darkens the movie considerably.

Michael's killing of Fredo is not an anomaly. The man kills anyone he perceives to be a threat or an enemy. Hagen triggers him by saying the truth,"You've won, is it necessary to wipe everyone out?" Vito would not have, Michael changed when he killed Carlo in the original. Fredo pays the price; he is cold as a serial killer. A great movie, it is in my inventory; I must admit I rarely watch it, too ugly and depressing. Both of these are worth owning, the third one is a total piece of crap and an insult to these two. Please, get your daughter a job somewhere else.
2015-07-29
A Potpourri of Vestiges Review: The Godfather of all sequels
The Godfather Part II is a consummation of the saga of the Corleone Crime family. Regarded by many as the best sequel ever, the Godfather Part II is equally brilliant as its precursor and good enough to stand on its own. The movie juxtaposes, the early life of Vito Corleone (from his orphaned childhood to his rise in power in New York), with the life of his son, Michael (after Vito's death to Michael becoming the most powerful Mafia head). Al Pacino picks up from where he left in the first part, consummating Michael's journey to the dark side and in the process, presenting him as the greatest anti-hero, the western cinema ever embodied. The movie gave Pacino his third consecutive Oscar nomination and a perpetual stardom that catapulted him above the ruck, laying the foundations of his illustrious career. Just like in part I, his performance in this movie is absolutely worthy of an Oscar, but the Academy once again robbed him of the glory.

Robert De Niro in his Oscar winning portrayal of Vito Corleone, gives a great performance without uttering a single word in English. The synergy imparted by the brilliance of these two outstanding performers, makes the movie, a treat to watch. Robert Duvall reprises his role of Tom Hagen with a desired degree of subtlety and equanimity, reminding the viewer of Brando's portrayal in Godfather part I. The entire cast is brilliant with special mention of John Cazole as Fredo, Lee Strasberg as Hyman Roth and Michael V.Gazzo as Frankie Pentageli, who are outstanding, to say the least. Cuppola's brilliant and innovative direction gives Puzo's masterful story, an incredible impetus, which is well complemented by Nino Rota's poignant score and Gordon Willis' vivid cinematography. In a nutshell, the movie, though sanguinary and lengthy than its precursor, is an equally brilliant work of cinema, a profound and a deeply engrossing master piece.

http://www.apotpourriofvestiges.com/
2009-05-17
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