The Godfather Part II

The Godfather Part II (1974)

Number 1 - 1974

Top 3 - 1970s

"My father taught me many things. Keep your friends close but keep your enemies closer"

"The Godfather Part II is truly a masterpiece. Timeless, Classic, Beautiful and endlessly watchable"

The second part of Francis Ford Coppola's Epic and violent Gangster Trilogy, follows the reign of Don Michael Corleone as the head of the Corleone family. As well the film shows us the early years of Vito Corleone (Marlon Brando) played flawlessly by Academy Award Winner Robert De Niro, and how he created his empire of money, gambling and respect. Beautifully directed by Francis Ford Coppola, Godfather Part II exceeds every expectation with outstanding performances from Academy Award winners Al Pacino,Diane Keaton, Robert Duvall and Robert De Niro. The second part of this unforgettable trilogy is one of the finest films ever made.

This is cinematic art. A treasure of film history. The finest sequel ever made. A faultless, flawless gripping drama; Coppola's second part of his crime saga is in my opinion one of the top 5 films of all time and perhaps towering over the first part.

"As close to perfection as movies get"

"Pacino at his best"

-10/10-

To say that this film is a sequel is a sin. Al Pacino and Robert de Niro win the Oscar for this film, Robert de Niro's performance as Vito Corleone is perfect, every scene in which this one is perfect. Al Pacino as always perfect and unlike the first film, he is much better.

PROS:

EVERYTHING. The script, the direction, the cast, the performance, everything in this film is perfect and its 3 hours are worth it.

CONS:

NOTHING. This movie is perfect.

The Godfather Part 2 is the finest sequel ever made and is arguably a finer film than the original Godfather. The film is divided into two main parts - the story of a young Vito Corleone (flawlessly acted by Robert De Niro and a worthy Oscar winner) and the rise to power of Michael as the head of the family. Francis Coppola recollaborated with many of the crew members of the first film and again achieves a quite superb period piece thanks to the cinematography of Gordon Willis and set design of Dean Tavoularis. The acting performances are outstanding, hence three supporting oscar nominations for acting guru Lee Strasberg (Hyman Roth), Michael Gazzo (Frank Pentangeli) and Robert De Niro (young Vito Corleone). Duvall, Keaton, Cazale and Shire all provided first rate performances but it is the performance of Al Pacino which steals the show, expertly portraying Michael as a cool, calculating, suspicious Don Corleone. The film expands upon the original movie and brings us into the family's activities in Nevada, Florida and Havana. Arguably the finest movie of the 70s, a cinematic masterpiece with the greatest ensemble acting you will probably see.

Series note: It is almost unthinkable to watch this film without having seen The Godfather (1972) first. This is a direct continuation of that story.

The good news is that The Godfather Part II has many amazing qualities, including fantastic performances from a superb cast, sublime, unprecedented visuals that no one else has been able to capture since, and very engaging stories. The bad news is that this should have easily been a 10, but overall, it is so sprawling and unfocused that I can't possibly give it more than a 9, which it only earns because the assets transcend what's basically a mess overall. Because it should have been a 10, and most other reviews will tell you about the positive points at length, I may pick on more things in my review than you would think I would for a 9, but rest assured that even with the flaws, The Godfather Part II is still essential viewing.

Director/co-writer Francis Ford Coppola cleverly begins the film with parallels to The Godfather. We see Michael Corleone (Al Pacino) "in the role" of his father, Vito (Marlon Brando), from the first film, accepting prostrating guests while a party is going on outside. Like the first film, the party consumes a lot of time while we get to know some of the principal characters. Perhaps during this segment, perhaps a bit after, we realize that maybe the beginning wasn't so clever after all, because the structure of The Godfather Part II parallels The Godfather from a broad perspective, as if Coppola and co-writer Mario Puzo used the first film as something of a template to create this one.

After the party is over, there is an attempted hit on Michael, and we quickly learn that not everything is rosy in the Corleone's mafia world. Michael believes that someone on the "inside" was involved with the hit. This launches a complicated sequence of events that has Michael, who is now living in Nevada, traveling to Miami, Cuba, New York, and so on. He accuses different people of involvement in the attempted hit depending on whom he is talking to. This may have all been part of a grand scheme to set up the responsible parties, but one of the flaws of the film is that Coppola doesn't convey Michael's underlying thoughts about this very well, not even later, and not through his actions. Rather than feeling like a clever set-up, it starts to feel like slightly muddled writing.

During the middle section of the film, which goes on for hours, we also have a hint of a problem that plagued The Godfather--a bloated cast. There are bit too many characters who aren't well enough presented or explained. You may need to keep a scorecard.

Coppola and Puzo also treat us to many extended "flashback" segments, and I mean way back, to Vito as a boy and young man, played by Robert De Niro. For my money, these were the best scenes of the film, although maybe that's a bit of my bias creeping in, as I'm a huge De Niro fan.

But let's talk about the main plague of the film--sprawl. This is maybe first evident in the flashbacks. As good as they are, they go on far too long, and happen far too frequently, to sustain the momentum of either the Michael story or the Vito-as-a-youngster story. It begins to feel like we're toggling back and forth between two films, which is the track that should have been taken. The prequel, at least, would have been a solid 10.

There's also a lot of sprawl in the Michael Corleone segments. Coppola appears to have been suffering from what I'd now call "J.K. Rowling Syndrome". That happens when an artist becomes successful enough that they can fire or ignore their editor(s). Instead of taking good advice about where to trim fat, the artist decides to just leave much of it in, and they now have the clout to override any dissenting and more sensible opinions. The Michael Corleone story has a lot of fat, including much of the Cuba material (for example, sitting around the table with the President, laboriously passing around a solid gold telephone), the Senate hearings (which go on far too long to make and provide the dramatic points), and so on.

The film begins to feel more like a couple seasons of a television show that Coppola tried to cram into a 3 and a half hour film, or worse, a collection of deleted scenes. The scenes, except for the fat that needed to be trimmed, are excellent in isolation. But by the time the climax rolls around, the whole has more of an arbitrary feeling--this is especially clear in the dénouement, which seems to just end.

I've barely left myself room to talk about the good points. The first one, which most people mention, is the acting. There isn't a bad performance in the film, but Pacino, De Niro, and some relatively minor characters, like those played by Diane Keaton, Talia Shire and John Cazale, really stand out.

The second outstanding point, similar to the first film, is the beautiful visuals. Although all of the cinematography and production design is great, what really impressed me were some of the darkly lit scenes. Characters and features of sets emerge from pitch-blackness, and everything is rich, deep shades of burgundy, brown, and orange. Amazingly, nothing gets lost in these scenes. It must be incredibly difficult to achieve without making the shots too dark, because I can't remember another film since that has been able to capture the same look. The flashback scenes are also in similar, but lighter, colors, creating an appropriate sepia-tone feel.

Although the broad perspective problems are unfortunate, a closer focus on most segments of the film provides exemplary artistry. Given that, and the film's importance culturally, The Godfather Part II is a must-see.

One of the all time greats. Or probably the alone greatest thing ever made in the history of cinematography. This movie is both "prequel" and "sequel" of the first godfather movie. I have never watched anything like this in my entire life. This movie has explained the life of underworld people in a great way. It also shows how vengeance eradicates happiness from your life. People don't even care about their family in greed of power. It's a masterpiece that can never be written off even after centuries. Even if you are not into these kind of movies, I will suggest to watch it for atleast once in your life or you'll be deprived of one of the greatest things to watch that have been ever made.