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The Godfather Part II [1974 film] by Francis…

The Godfather Part II [1974 film]

by Francis Ford Coppola (Director/Screenwriter), Al Pacino, Mario Puzo (Screenwriter)

Other authors: Richard Bright (Actor), John Cazale (Actor), Robert De Niro (Actor), Francesca De Sapio (Actor), Robert Duvall (Actor)11 more, Michael V. Gazzo (Actor), Diane Keaton (Actor), Morgana King (Actor), B. Kirby, Jr. (Actor), Gaston Moschin (Actor), Tom Rosqui (Actor), Nino Rota (Composer), Talia Shire (Actor), Frank Sivero (Actor), G. D. Spradlin (Actor), Lee Strasberg (Actor)

Series: The Godfather - film (2)

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124597,109 (4.25)5



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Showing 4 of 4
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on the family crime syndicate.(IMDb) ( )
  DrLed | Nov 4, 2017 |
The Godfather

Part II

Al Pacino – Michael Corleone

Diane Keaton – Kay Adams
John Cazale – Fredo Corleone
Talia Shire – Connie Corleone
Robert Duvall – Tom Hagen
Robert de Niro – Vito Corleone
Lee Strasberg – Hyman Roth
Michael V. Gazzo – Frankie Pentangeli
G. D. Spradlin – Senator Pat Geary

Screenplay by Mario Puzo and Francis Ford Coppola
Directed by Francis Ford Coppola

First released, 12 December 1974.

Paramount Home Entertainment (Germany), 2007. 194 min. Colour. Dolby Digital 5.1. Anamorphic widescreen (1:78:1). Commentary by Francis Ford Coppola.


As a stand-alone piece of cinematic art, this is a fine film. The story is interesting and complex, with several layers ingeniously intertwined. Coppola is a master of pace and atmosphere who knows how to make three hours seem like one. The cinematography and production design are simply gorgeous. Be it Nevada or Havana, it looks stunning. The acting by everyone concerned is off the scale.

But as a sequel to the original? Well, viewed like that, it is repetitious, digressive, monotonous and inferior in just about every way. I can think of only two scenes – Michael’s final confrontations with Kay and Fredo – that have anything like the power that’s characteristic of each and every scene from the original. John Cazale is especially unforgettable in the latter. Fredo is a great deal more prominent character than he was in the first film, and Cazale makes the best of this pathetic creature who cannot come to grips with his own mediocrity. His kid brother Mike taking care of him? Imagine the humiliation, at least from an Italian point of view!

But the rest is indifferent, at least by the standards set by The Godfather. Most of the story is convoluted and too much business – too little concerned with the family – to be engaging. The attempts to involve Roth and Pentangeli at this front are simply pathetic. Michael’s character is beautifully played by Pacino, but it’s a static character without any development, much less anything like the staggering transformation which formed the backbone of the original. The character of Kay is only slightly developed and that of Hagen not at all. The flashbacks are marvellously done, with an exquisite performance by Robert De Niro as the young Vito Corleone, but they are neither here nor there. They are relevant to the first movie, and indeed were taken mostly from the original novel.

No matter how hard I try, I can never accept this movie as anything but a sequel. As such, for all of its considerable merits, it is light years away from The Godfather without numbers. It baffles me to see Part II mentioned as equal, even superior, to the first film. It is not. It never could have been. It was a lost cause from the beginning. It’s been well said that it’s dangerous to try to repeat success. But I guess that’s an offer few people can refuse. ( )
  Waldstein | Mar 13, 2017 |
A crime boss defends his empire, and flashbacks show how his father got into The Family Business.

It's a fine movie, but I do not understand how people can compare it to the original (much less claim it's better). There's no real protagonist (Vito's too small a character to count, and Michael did all his developing in the first movie and is now just a heartless villain). There's only one scene with any emotional impact (the one between Michael and Kay), and that feels disconnected, like it's been transplanted form a different movie. There's no suspense. There's nothing to get me at all involved in the main story. What's all the fuss about?

Concept: C
Story: C
Characters: B
Dialog: B
Pacing: D
Cinematography: B
Special effects/design: A
Acting: A
Music: B

Enjoyment: C plus

GPA: 2.7/4 ( )
1 vote comfypants | Jan 26, 2016 |
This review has been flagged by multiple users as abuse of the terms of service and is no longer displayed (show).
  wdjoyner | Aug 22, 2010 |
Showing 4 of 4
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» Add other authors (3 possible)

Author nameRoleType of authorWork?Status
Coppola, Francis FordDirector/Screenwriterprimary authorall editionsconfirmed
Pacino, Almain authorall editionsconfirmed
Puzo, MarioScreenwritermain authorall editionsconfirmed
Bright, RichardActorsecondary authorall editionsconfirmed
Cazale, JohnActorsecondary authorall editionsconfirmed
De Niro, RobertActorsecondary authorall editionsconfirmed
De Sapio, FrancescaActorsecondary authorall editionsconfirmed
Duvall, RobertActorsecondary authorall editionsconfirmed
Gazzo, Michael V.Actorsecondary authorall editionsconfirmed
Keaton, DianeActorsecondary authorall editionsconfirmed
King, MorganaActorsecondary authorall editionsconfirmed
Kirby, B., Jr.Actorsecondary authorall editionsconfirmed
Moschin, GastonActorsecondary authorall editionsconfirmed
Rosqui, TomActorsecondary authorall editionsconfirmed
Rota, NinoComposersecondary authorall editionsconfirmed
Shire, TaliaActorsecondary authorall editionsconfirmed
Sivero, FrankActorsecondary authorall editionsconfirmed
Spradlin, G. D.Actorsecondary authorall editionsconfirmed
Strasberg, LeeActorsecondary authorall editionsconfirmed
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In the early 1900s, the young Vito flees Sicily for America after the local Mafia kills his family. Vito struggles to make a living, legally or illegally, for his wife and growing brood in Little Italy. There he kills the local Black Hand Fanucci after he demands his customary cut of the tyro's business. With Fanucci gone, Vito's stature grows. The family legacy is upended by Michael's business expansion in the 1950s. Now based in Lake Tahoe, Michael conspires to make inroads in the Las Vegas and Havana pleasure industries by any means necessary. As he realizes that even his allies are trying to kill him, the increasingly paranoid Michael also discovers that his ambition has crippled his marriage to Kay and turned his brother Fredo against him. Barely escaping a federal indictment, Michael decides to turn his attention to dealing with his enemies, completing his own corruption.… (more)

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