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.
The Godfather Part II (1974) 720p YIFY Movie
The Godfather Part II (1974)
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
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The Synopsis for The Godfather Part II (1974) 720p
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.
The Director and Players for The Godfather Part II (1974) 720p
The Reviews for The Godfather Part II (1974) 720p
Great ensemble acting, great story, greatest sequel ever made.Reviewed by ([email protected])Vote: 10/10
Coppola's masterpiece is rivaled only by "The Godfather, Part II" in which the 1940s setting of the first movie is extended backwards and forwards to reveal the corrupting effect of power...The film, breathtaking in its scope and tragic grandeur, shows two parallel stories extending two different time periods: the early career of young Vito Corleone seen first around the turn of the 20th century in Sicily, and then in 1917, building his criminal underworld in the Italian ghettos of New York City, post World War I, plus that of his son, Michael (Al Pacino) desperately trying to keep his family together... Al Pacino's performance is quiet and solemn... He is cold and ruthless, with a whole contrast from the idealistic innocent war hero we initially met at the beginning of the first film... Here he's a calculating and frightening force, seeking to expand casinos into Pre-Revolutionary Cuba and consolidating an empire surrounded by perfidy and treason, maintaining total confidence in his ability to control the situation whether testifying before enraging Senators or trying to outface his worst enemies... The film's haunting final shot of a lonely, isolated paranoid Michael in his empty compound, is an unforgettable movie scene, a tragic portrait of a lonely and fully damned person, emotionally empty and finished, far from a waspish wife, more distant from a faithful lawyer... De Niro's rise, from an orphan child by a family feud back in Italy to a hood in New York and his position as a respected Don, provides a welcome break from Pacino's relentless attitude... Since the people he kills seem to deserve it, Vito comes off better than Michael does, and it was wise of Coppola to shuffle the two stories together despite lengthy flashbacks and the disturbance of continuity... The entire cast contributes greatly to the success of the film: Lee Strasberg, a fascinating mixture of lust and ruthlessness; G. D. Spradlin, absolutely right as the sinister and corrupt Nevada Senator; Michael V. Gazzo, unforgettable as the troubled gray-haired informer; Gastone Moschin, excellent as the blackmailer in white suit; John Cazale, marvelously timid as the vague, confused, and hesitant Fredo; Diane Keaton, clearly irrational as the long-suffering wife Kay; Talia Shire, too extravagant as the lousy mother; Troy Donahue too ambitious as the fortune-hunting suitor; and Robert Duvall excels as the confidant, and retainer to the all-powerful Corleone family... Coppola's motion picture is not just a mere supply with new characters and events from the original, it's a far more complex and intimate movie than its predecessor... It is not really a sequel... It's just more... It cleverly shifts in time between two distinct narratives with extreme realistic violence and criminal mentality of gangsters...
You can count on one hand the movie sequels that measure up to the original; GODFATHER II makes the cut. This movie is just as fine as GODFATHER I. Here the director goes back and forth between the early days of the young Vito Corleone, played by Robert De Niro, and the family after the action in GODFATHER I in the 1950's just before Castro came to power. Michael Corleone (Al Pacino) has moved the family and most of his business to Nevada. Once again the acting is flawless. Diane Keaton as Michael's wife who quickly becomes disillusioned with her life with him and the lies he continues to tell her, assuring her that he is going legitimate soon; Robert Duvall as Michael's adopted brother and adviser; and Lee Strasberg as Hyman Roth all give outstanding performances; but the film really is Al Pacino's. We see him become a ruthless, cold-blooded killer who alienates himself from his family in ways his father would never have done. He has come so far from the idealistic young man in "GODFATHER I, who joined the Marines in World War I to serve his country and die for it if necessary, to a lonely, paranoid tragic man. There are many poignant scenes concerning his wife and children-- the drawing his son leaves for him in his bedroom, the gift that Tom buys the child because Michael is too busy, his wife Kay's being kept a virtual prisoner at his orders in the family compound, etc. Once again many acts of violence are interwoven with religion: Michael's son's first communion, the religious parade in New York, Fredo's repeating the Rosary in order to catch a fish, for example. The cinematography is stunning; the footage from Sicily and New York around the turn of the century and the snow scenes from the American West are beautiful and rich in detail. Mr. Coppola has directed yet another masterpiece.