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Buy The Godfather: Part II 1974 Movie Online 1080p, 720p, BRrip and MOV
Crime, Drama, Thriller
IMDB rating:
Francis Ford Coppola
Al Pacino as Don Michael Corleone
Robert Duvall as Tom Hagen
Diane Keaton as Kay Adams Michelson
Robert De Niro as Vito Corleone
John Cazale as Fredo Corleone
Talia Shire as Connie Corleone Rizzi
Lee Strasberg as Hyman Roth
Michael V. Gazzo as Frankie Pentangeli
G.D. Spradlin as Senator Pat Geary
Richard Bright as Al Neri
Gastone Moschin as Don Fanucci
Tom Rosqui as Rocco Lampone
Bruno Kirby as Young Peter Clemenza
Frank Sivero as Genco Abbandando
Storyline: 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.
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"I came here because there's going to be more bloodshed".
It's difficult to imagine that "Godfather II" could trade punches with the original and still remain standing, but this is one brilliant film. Masterfully tracing the history of the Corleone Family from Vito's arrival at Ellis Island in 1901 to the Lake Tahoe empire of 1958, the story is a decades spanning saga that makes you wonder how almost three and a half hours can blow by so quickly. The picture's numerous flashback scenes work well to establish the beginnings of Don Corleone's rise to power, and Robert de Niro's portrayal of the young Vito effectively allow us to forget about asking why Marlon Brando didn't show up even once. Pacino is no longer the fresh faced kid home from the military who takes up the family business, but the brooding, brutal leader of a crime syndicate with a chessboard strategy of staying two and three steps ahead of his enemies at all times.

If you haven't seen the movie in a long time, you might be surprised like I was while watching today. It's easy to recall the highlights like Frank Pentangeli's courtroom scene and subsequent suicide, and the way Fredo met his timely demise. What I had long forgotten was the way the picture opens with the Sicilian back story, and the way the New York neighborhood flashback thread literally runs throughout the entire picture. It's funny how I recall those scenes as a single sequence leading up to the murder of Don Fanucci, but it just goes to show you how faulty memory can be.

You know, it's hard to believe that the first two Godfather movies are nearing the forty year mark since their original release. They've become American classics that have well withstood the test of time, and will continue maintain their appeal. It's fair to say that seeing both of these iconic films are a must for the true cinema fan.
For anyone who thinks the Godfather is overrated
This post is probably gonna tick you off. But I don't want to flame on your tastes. I'm not gonna trash what anyone thinks is the best movie. This is just a very long-winded argument about why The Godfathers stand as milestones in cinema. Spoilers throughout.

I've read a number of posts who think the characters are hollow. There are long scenes when the characters seems to be doing nothing, or just *thinking*. That's one of the great parts of the film. There are deep threads of loyalty and family and duty throughout the trilogy, and the original Godfather (and ptII) is one of the few films that does these moments justice. The cast assembled does what few ever have: you can "see" them thinking. Brando, Pacino, DeNiro, Strasberg (of course), Duvall - all masters of what is probably the most difficult talent to achieve on film. Pacino is especially great at this in GpartII when you watch him agonize over what to do with (if you've seen it) *you-know-who*. There is a subdued intensity to each character, living a life where death is always around the corner of one bad mistake. They're thoughtful, intelligent, and conflicted. The gift of these movies is they don't telegraph these undercurrents or make it painfully obvious. If you let yourself, the characters draw you in to these processes.

Much of our current standards for cinema are based on flair and fast-action-packed-editing. Not to sound cheesy, but the Godfathers unfold like a rare flower, slow and with purpose. Keep in mind, there are no accidents in movies. That is to say, what you see in the frame is completely planned (as much as can be in cinema). Watch the scene where Brando is advising Pacino on the particulars of the business. There is real heartbreak between them, two men doing the family's business. Vito Corleone never wanted it to be Michael, and neither did Michael want it for himself, but both esteem the family more than themselves, and so they discuss this ugly business. If this movie were made today, the scene would only be a few snappy lines, some quick wit dialogue, and cut to the big explosion. This is a gem of a scene because you watch the actors put these emotions away to do what's brutal and necessary, and in a sense, say goodbye.

Watch Brando in the car after the meeting with the Five Families. He comes to a chilling realization about who is behind the war, but how? Watch this scene and then re-watch the meeting with the Five Families for the moment this realization hits him. It happens and is gone in a second, but in that second you see him decide what to do. He tucks away his anger and waits. He waits until Michael takes over, and passes this knowledge on to him without ever telling him what to do. This is where the art of direction makes this possible. Without a word ever being spoken about what's coming, Michael takes over the family business and sets the table to take control over all the families. Of course, when the hits are actually being done, and splicing them into the scene where Michael's niece is being christened, is the best form of ironic cinematic poetry. What makes the GpartI and GpartII connection is you see the same process in DeNiro/Young Vito. After he's shaken down for the last time by Don Fanucci, he decides what and how to do it in a second - and DeNiro shows that, without a word ever being spoken.

Of course, there are the iconic moments of the movie. The horsehead in the bed, (in the restaurant with Solozzo and McCluskey) Pacino coming to a boil as the train gets louder in the background, the opening scene with the undertaker (a great homily to Italian-Americans), Brando moving around the room and brushing his cheek, Fredo on the lake reciting the Hail Mary, Pacino kissing Fredo in Cuba, Sonny on the causeway, etc...

These are just a few of examples of what make these movies great. I've read where people can't identify to the characters. How many of us really can identify with the people we see on film? The Godfathers paint a portrait of a life unknown to just about everybody. The real gangsters liked it so much, they emulated the fictional parts (like the hand-kissing). The films are poetry, but there's nothing poetic about the events in it. The characters are sublime, but there's nothing sublime about their character. The movies don't give anything away (who saw the Fredo thing coming?), but are transparent at the same time. I know this is high minded and stuffy, but hopefully, even if you're not a fan, you can understand why the films are so highly regarded.

But, for the haters, I'll give you GpartIII - what in the h*ll was he thinking letting Sofia Coppola act? Part III is by far a weak addition to the trilogy...unless you're a die hard fan...not worth seeing. Now rub your eyes if you read the whole thing....
Michael Corleone: Total Night
Spoilers Ahead:

I, myself, prefer the original but this is a fantastic sequel but much darker. Many were annoyed at the temporal juxtaposition of Vito and Michael. Believe me, nobody hates temporal jumping back and forth than more I do but it is used by Coppola for dramatic contrast. What you will notice is what we knew about Michael already: The Outsider. From the first, in The Godfather, he sits at the farthest periphery of the family, on the outskirts on the family. This is an existential metaphor for Michael himself. He is barely in the family, just barely. My favorite scene contains the essence to understanding Michael versus the family Patriarch Vito. At the end, after having Fredo shot, we see a flashback where Sonny, Hagen, Fredo are all sitting at the table waiting for Vito's birthday cake. When Michael tells them he has defied Vito and enlisted for WW2, Sonny has to be restrained from kicking the crap out of him. Watch Michael's contempt for Hagen, "You talked to my father about my future?" Then, they all file out leaving Michael alone in the room; fade back to the future. Coppola zooms in on Michael's face, half of it goes into total darkness. Get the Message? He is not in the family; he is a loner. The darkness is his personality; he is much more evil and ruthless than Vito.

Vito always had Fredo out of the picture somewhere, drive the car, later he sends him to Vegas to keep him away from messing up the family business. Michael will not tolerate his dangerous stupidity. Watch the contempt when Fredo lectures Michael on how he wants respect and he has been passed over. This after almost getting Michael killed twice once in his house, the other time in Cuba. This is the reason for going back and forth. Coppola wants you to see that Vito is plenty ruthless, in the killing of Fannuci, and returning for vengeance to Sicily. But Vito is the family patriarch, he simply could not kill Carlo in the original. He retired and made Michael do it. The bad news is that Michael changed from that experience. He waits to kill Fredo, just like he did for Carlo in the original. His coldness darkens the film deeply.

His cruelty to Kay, Connie, Fredo, even his own children, closing the kitchen door on her while turning and glaring at his children is not a pretty sight. The man is nothing like Vito. We see Vito making friends with Clemenza and Tessio, using his influence to protect Signora who has been ejected with her children into the street. He has a warmth and caring underneath all the evil and power on the surface. Michael Corleone is a walking iceberg; pure cold ruthless evil devoid of all forgiveness. He seeks explanation for his deviation from his mother, she tells him he can never lose his family. Michael blames the times, wrong, he is not Vito; also, he never really was nor wanted to be in this family. Vito's near assassination, in the original, sucked him into the family business. He came in but he retains his contempt and icy separation. Watch him turn on Hagen,"Are you coming with me on this, otherwise you can take your wife and your mistress and leave." This is the difference; Kay is not Mama Coreleone to him; she is a baby machine to produce heirs. This is a great movie, I simply find the depth of his evil darkens the movie considerably.

Michael's killing of Fredo is not an anomaly. The man kills anyone he perceives to be a threat or an enemy. Hagen triggers him by saying the truth,"You've won, is it necessary to wipe everyone out?" Vito would not have, Michael changed when he killed Carlo in the original. Fredo pays the price; he is cold as a serial killer. A great movie, it is in my inventory; I must admit I rarely watch it, too ugly and depressing. Both of these are worth owning, the third one is a total piece of crap and an insult to these two. Please, get your daughter a job somewhere else.
Getting a bit overly dramatic, but still really good
The problem with Godfather II is that it goes a bit too far for the sake of false drama. It is like a kid who gets hit by a parent, cries and as he is crying he keeps thinking about how sad his life is and how everyone would feel sorry once he is dead, and the kid keeps getting a kick out of this self-made drama.

Without spoiling much, the main protagonist, crime boss Michael Corleone, eventually starts making moves that feel unnecessary, unless you view them as a means by the writers of the story to create more crime drama.

The story of Godfather II has some weak and some strong points. If you retrace the steps of the storyline after you finish watching the film, they are not necessarily illogical but they do sit kind of loose in the plot. These plot points feel more like vehicles for specific dramatic scenes than a natural story. On the other hand, the story does provide some great historical perspective on the history of the mafia and also general commentary on certain social aspects of life.

Everything else about this film was pretty good. It is understandable how this film reached its position as one of the top films of the last century.

The acting is top notch. In fact, it is what serves as the main course and the desert. You do not go to Godfather movies for action; you go to them for the interaction between all these great actors. These shots are up close and personal, with strong dramatic shadows on characters' faces. The experience is sort of like eating a good steak, no salt or pepper needed.
The Greatest Film Ever Made
The original Godfather is a brilliant work. It is in a sense a voyeuristic delight, allowing us to see the mafia from the inside - we become part of the family. It single-handedly change the world's view of organized crime, and created a cast of sympathetic characters, none of whom have a shred of common morality. It was the highest grossing movie of its time and Brando created a cultural icon whose influence resonates as strong today as it did in 1972.

As extraordinary an achievement as this is, Part II is even better. It easily receives my nod as the best picture ever made. I have seen it at least 20 times, and each time its 200 minutes fly by.

The movie uses flashbacks to brilliantly weave two tales. The main story is the reign of Michael Corleone as the world's most powerful criminal. Now reaping the benefits of legalized gambling in Las Vegas, Michael is an evident billionaire with an iron fist on a world of treachery.

Behind this, Director Francis Ford Coppola spins the tale of the rise of Michael's father, Vito, to the center of the New York mafia. It is these scenes that make the film a work of art. Without spoiling, I will simply say the Robert DeNiro as the young Vito is the best acting performance of all time, a role for which he won a richly deserved Oscar.

The screenplay is full of delicious little underworld nuggets ("Keep your friends close .....", "I don't want to kill everyone, just my enemies"), while it blows a dense, twisted plot past you at a dizzying and merciless pace. The cinematography is depressing and atmospheric. The score continues in the eerie role of its predecessor, foretelling death and evil.

All of this makes the movie great and infinitely watchable. But it's what's deeper inside this film ... what it is really about ... that is its true genius.

The Godfather Part II is not really a movie about the mafia, it is a movie about a man's life long struggle. Michael controls a vast empire that is constantly slipping out of his hands. He grows increasingly distrustful and paranoid, and even shows signs that he hates his own life. Michael almost seems to resent the fact that he is a natural born crime lord, a man who puts the family business ahead of everything.

The great Don Michael Corleone can never come to terms with one simple fact.... his father's empire was built on love and respect, Michael's empire is built on fear and violent treachery.

See this movie. It's three-and-a-half hours very well spent.
The Economics of Destiny
Sequels rarely rise to the level of the original, and almost never surpass them. This phrase has been used so often in reference to "The Godfather: Part II" – the exception that makes the rule. What is even more laudable is the fact that the original is generally considered as a landmark in the history of film.

This is one film that proves cinema to be a form of art, and not merely one of entertainment. A skilful direction from Francis Ford Coppola, outstanding performances from the likes of Pacino, De Niro, Gazzo, Strasberg, Cazale, Duvall, Keaton, Shire, memorable cinematography from Willis, a soundtrack by Rota, Coppola and Curet Alonso, and an ingenious script by Coppola and Puzo (partly adapted from his novel), make "The Godfather: Part II" stand out as a story of courage, love, treachery, and devotion, crafted in the life of the Corleone saga.

The plot follows the consolidation of power of Michael Corleone, and his desire to gain the legality of his business, and the consolidation of power of a young Vito Corleone, and his desire to build a better life for his family. The old story of the father handing his wealth to his sons, gains a new twist by allowing a positive outcome to the original story. The wealth remains in the family, but there are losses to be incurred. An ontological thesis of Pareto optimality into the organisation of social structures is subtly brought into the view, without harming the general development of the story.

"The Godfather: Part II" remains also as a text book for any actor. Al Pacino shows that temperance can be dramatic, making us empathise with his character even when made to realise the most brutal of actions. Robert De Niro is purely outstanding, in one of the best supporting performances the screen has witnessed. His charm, charisma, and vocal skills, help him achieve a complete transition to Puzo's Vito Corleone. The viewer is unarmed in the choice given between murder and love, between life and necessity. Talia Shire stands out as the lost woman in a world dominated by men.

Even if "The Godfather" is the point of reference when it comes to great cinema, "The Godfather: Part II" remains a powerful example which proves that there is always more to say in a story, and the additions can be more than surprising.
A great sequel and enduring vision of corruption and family.
Without a doubt, Coppola made four of the best films of the 70's. The Godfaher Part 1, Part 2, The Conversation and Apocalypse Now. Out of these, The Godfather Part 2 remains my favourite.

It continues the Corleone family tale, of greed and corruption and yet Part 2 adds another vein to the bloodstream of this biblical tale; the story of Vito Corleone and his arrival in New York. The cinematographer, Gordon Willis creates a sepia-washed dream of a New York. Every shot is sumptuous ad full of depth - the production value was a help too, with some of the most authentic streets scenes ever committed to film.

Though, as wonderful as the film looks, the acting is stellar to. De Niro completely transforms himself from the urban maniacs like Johnny from Mean Streets and Travis Bickle from Taxi Driver, to form Vito Corleone, the younger Marlon Brando. De Niro doesn't over cook the character, instead he simmers; his eyes tell two tales, one of being content, the other of contempt, for the killing of his family.

De Niro is backed up by great co-stars, such as Bruno Kirby who played the young Clemenza. The story itself in this section of the film is slow burning, much like the rest of the film, yet is here to serve a contrast to the story of Michael Corleone in Nevada.

This is the part in the trilogy where Michael transforms from the "college boy" and "war hero" of part 1, into the heartless, muted confusion that he embodies here. Pacino plays the part with ease and never goes wild and shout, much like his later work (Glengarry Glen Ross, Godfather Part 3...). Keaton is superb as the WASP wife, Kay, who tries to break free of the corruption she has married into. Cazale, who plays Fredo is wonderful too, a helpless, jealous character, who forms one of the best brother characters in film history. The co-stars are also great, with Strasberg as Hyman Roth.

Just as Michael's family is dissolving, Vito's is just beginning. The two fragments of the Corleone history run side by side to depict the downfall of Michael's character. Constantly trying to please his dead father, Michael talks of family, but doesn't understand how to sustain it.

A classic.
this is a masterpiece, the definition of the word movie
this is something. if you thought The Godfather was special, brace yourselves, because The Godfather Part 2 is the greatest. Everything about this movie is perfect. the directing is brilliant. the way Coppola was able to weave two tales using only flashbacks was just groundbreaking. the acting, well it speaks for itself. De Niro won an Oscar for-this, and was richly deserved, but Pacino puts in the performance of his career, Duvall features much more and is marvelous. Cazale is picture perfect as the shaky Fredo. Bruno Kirby was my favourite as the straight talking Clemenza. All I'm saying is that this movie can do now wrong. the simple message of this movie is that of a man who has a firm grip on his job. but is losing his grip on his life
In Some Ways Even Better Than the First One...
Seven years after the first film, Michael Corelone (Al Pacino) continues his family's quest to become legitimate. Also, more on his father's growing up in Sicily and coming to America. With Vito being played not by Marlon Brando, but Robert DeNiro.) If you liked the first film, you will like this film. If you didn't, you won't. It's really that simple, since you have all the same great people coming together for this film with just as solid a script and acting as you did the first time. You lose Marlon Brando, but you get Robert DeNiro. I consider that a fair trade.

This film has two things going for it: it has the early years of Don Corleone, which really fills in the missing mythos around the family. Without this, the film would appear to show the Corelones were always powerful, which is far from the truth. It does not explain how Don Corelone grew to talk in such a mumbled voice, though.

Also, I really enjoyed the entire Cuba sequence, because it put the film in a historical time frame (and I like Cuba). I was never fully sure when the first film was taking place, but this one made sure I knew the years when Don Coreleone was growing up and that the present day was not 1974, but rather in roughly 1958-1959. That changed my perspective on things completely.

If you have invested three hours in the first film, invest three more in this one. Why only get half the story of Vito Corleone? I cannot make any suggestions for part three, though, one way or the other.
Almost as good as the original!!!
And that is saying a lot.Probably the most fantastic and well made sequel of all time.Some consider it to be even slightly better than the original but for me the first Godfather is still the best mainly because of Marlon Brando.Despite of that The Godfather part 2 is a flawless movie,a timeless masterpiece with countless qualities that crabs the viewer and never ceases to impress.Al Pacino delivers simply a stunning performance and deserved an Oscar for best actor.Here he isn't the fragile,insecure young man he was in the original film.Here he is wiser and more respectful.Perfect Michael Corleone.The rest of the cast is amazing too.Robert Duvall as Tom Hagen and John Cazale as Fredo shine once again.Cazale as the treacherous Fredo has a bigger role and makes an even greater impact on the audience.But a lot of the credit has to go to the brilliantly cast Robert De Niro who indeed deserved to win the Oscar for best supporting role.His portrayal of the young Vito Corleone and his rise to power is simply stunning.Excellent work.Director Francis Ford Coppola is simply one of the greatest directors not only of his time but of all times and shows once again that he is the biggest fan of the novel and shows great respect both towards Mario Puzo and his work.
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