When the menace known as the Joker emerges from his mysterious past, he wreaks havoc and chaos on the people of Gotham. The Dark Knight must accept one of the greatest psychological and physical tests of his ability to fight injustice.
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.Written by
Keith Loh <firstname.lastname@example.org>
The orchestra that plays in the band shell during the party scene at Lake Tahoe was actually the Al Tronti Orchestra that played nightly for big names like Elvis Presley and Tom Jones at the Sahara Tahoe Casino/Hotel on the South Shore of Lake Tahoe while this film was being shot. Al Tronti himself sits in the orchestra in the front room (only seen in shadow). He wasn't allowed to appear as the orchestra conductor since he looked "too Italian" and the orchestra in the movie was supposed to be a West Coast group that not able to play any traditional Italian music. See more »
When Michael speaks with Connie at the communion party in Nevada in 1958, he reprimands her that her first-born son was picked up on a misdemeanor. Connie's wedding was in the summer of 1945. Even if she became pregnant on her wedding night, Connie's son would not have been born until 1946, making him 12 when Michael and Connie have their conversation in Nevada. See more »
The godfather was born Vito Andolini, in the town of Corleone in Sicily. In 1901 his father was murdered for an insult to the local Mafia chieftain. His older brother Paolo swore revenge and disappeared into the hills, leaving Vito, the only male heir, to stand with his mother at the funeral. He was nine years old.
[gunshots and screams]
[subtitled from Italian]
They've killed the boy! They've killed young Paolo! They've killed your son Paolo!
See more »
This is the only Godfather film not to feature a standalone title screen against a black background. Instead, the title appears over Michael Corleone's chair after he gets up out of it. See more »
In most television prints, the shot of little Vito being marked with an encircled X at Ellis Island (meaning mental defect) is deleted. See more »
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.
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