The Godfather Part II (review)Give Me Your Violent, Your Fierce Rare is the sequel that equals the film that spawned it. The Empire Strikes Back. Indiana Jones and the Last Crusade. Add to that short list The Godfather Part II, the only sequel ever to win Best Picture. Part II continues the sweeping family epic that ironically juxtaposes quintessential American values with the extremely realistic violence and criminal mentality of mobsters. The Godfather Part II, even more so than its predecessor, tells a story of immigrants in America that -- minus the felonies and murders -- many of us might recognize as tales our grandparents told. The film opens as nine-year-old Vito Andolini, orphaned by a family feud back in Italy, arrives alone in America in 1901. He gazes at the Statue of Liberty as his ship enters New York harbor and navigates the confusion of Ellis Island -- where he is renamed Vito Corleone (for his home village) -- on his own. Cut to his son, Michael (Al Pacino, just as brilliant as the first time around), presiding over the family from its base in Lake Tahoe, 1958. Michael has a powerful U.S. senator in his pocket and is looking to expand the family business, perhaps into prerevolutionary Cuba, perhaps in a merger with Jewish gangster Hyman Roth (Lee Strasberg). The mob may be "bigger than U.S. Steel," according to Roth, but things are starting to fall apart for the Corleones. The Godfather Part II interweaves these two stories: Vito as a young man (an incredible Robert DeNiro) building his underworld empire in the Italian ghettos of New York City, post WWI, and his son Michael desperately trying to keep it together, 40 years later. The open society that drew people from all over the world to America also allows crime to flourish, especially when the criminals are as enterprising and entrepreneurial as the Corleones, who demonstrate just the kind of sturdy self-reliance our country was built on. Okay, so they take it a little too far. But their story is pretty much the story of America in the 20th century. Best Picture 1974 previous Best Picture: previous AFI 100 film: Disqus commentsblog comments powered by Disqus |
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Fri Feb 26 99, 7:15PM categories: reviews > AFI 100 reviews > Oscar best pictures permalink 2 pre-Disqus comments Disqus comments infoMPAA: rated R viewed at home on a small screen IMDB dvdAmazon U.S. Amazon Canada Amazon U.K. tip jarshare
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Empire Strikes Back Godfather Part II Indiana Jones and the Last Crusade Lee Strasberg mafia New York City Oscars Robert DeNiro related· The Godfather (review) · Friday night fortune cookie: Professor Henry Jones Jr. says... · August 21: DVD alternatives to this weekend’s multiplex offerings · question of the day: What’s your favorite movie about Dad? · GoodFellas (review) · Gomorrah (review) · The Crew and The Whole Nine Yards (review) · female gazing extra: “Men in Film” · Righteous Kill (review) · 5 reasons I’m psyched for ‘Righteous Kill’ bloggyprevious post: The Sting (review) next post: One Flew Over the Cuckoo's Nest (review) |









pre-Disqus comments
posted by Delsyn@email.msn (Sun Aug 08 10, 7:18PM)
I was reading through your discussion of The Godfather Part II, and while I found the review perceptive (as always) I must disagree with your choice of memorable movie moment. You picked Vito's return to kill the don who murdered his family. A powerful scene certainly, but it doesn't hold a candle to the most amazing moment in the movie. I'm referring of course to the New Year's party in Cuba when Michael gives Fredo the "kiss of death." That moment conveys so much in the movie, boiling down the instant when Michael chose to dispense with his loyalty to family in favor of his loyalty to The Family.
[originally posted to FlickFilosopher.com 02.28.99]
posted by MaryAnn (Sun Aug 08 10, 7:19PM)
You're right -- that is a powerful moment. But I loved, and was stunned by, the casual brutality of Vito's revenge. He doesn't just stab the guy, he practically eviscerates him. That was a demonstration, I thought, of the intense loyalty to family that Vito passes on to his children. Merely killing the man who offed Vito's parents and brother wasn't enough -- it had to be nasty.
[originally posted to FlickFilosopher.com 02.28.99]