🎦 The Godfather: Part II full movie HD download (Francis Ford Coppola) - Crime, Drama, Thriller. 🎬
The Godfather: Part II
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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Need I say anything?
The Godfather: Part II (1974, Dir. Francis Ford Coppola)

It's the 1920's and young Vito Corleone (De Niro) moves to New York to his life and new crime career, whilst in the future, his son Don Michael Corleone (Pacino) continues to further his father's legacy.

Francis Ford Coppola pulls off another epic classic which this time focuses' on two different story lines. Al Pacino is just wonderful as always to watch, but Robert De Niro gets a mention for his amazing performance. The story remains at a steady pace and never goes off the tracks, making this a truly great film.

I trust these men with my life, Senator. To ask them to leave would be an insult. – Michael Corleone (Al Pacino)
Good film but not as good as the first
This is Coppola's epic tale of first generation Italian Americans making their way in the glamorous, criminal underworld of the 1920s and 1950s. The span is vast and ambitious. It cuts between the emerging criminal stronghold of Michael Corleone and the early life of his father, Vito Corleone.

The unfolding narrative of Michael Corleone's life, dynamics of the familial relations, and the way in which he legitimises his criminal infra-structures were well presented. It is possible to understand the protagonist's moves and motives, his character has integrity in that regard.

However, frequently and without warning, the flow ended in a crescendo of chaos. The material needed to be ordered and handled more sensitively. Good film but not as cleverly arranged as the first.
Sequel + Prequel = monumental film-making
Francis Ford Coppola came perilously close in this film to accomplishing something rarely, if ever, done: he nearly made the second movie revolving around a particular set of characters and themes better than the first.

In the truest sense of the word, Godfather II is NOT a sequel, nor was it intended to be. What Part II does is fill in details about Don Vito Corleone's arrival in America and rise to underworld power. That story was told by Mario Puzo in the novel, but involved too lengthy a story to include in the 1972 film. Coppola and Puzo did the next best thing: they told the prequel, the rise to power of Don Vito Corleone (Robert DeNiro) and then appended to the prequel the story of the Corleone family subsequent to Michael's gangland triumph at the close of the first film. "Appended" should not be taken to have a pejorative connotation. There is certainly nothing slapdash about the tale of the Corleone family's fortunes following the obliteration of the rival gang leaders at the end of the first film.

Al Pacino is stunningly believable as the still-reluctant Don Michael Corleone. He wants to move the family business toward legitimacy, but in the end events compel him to "be strong for everyone" by taking down all of the family's enemies, even when one of them is his older brother Fredo (John Cazale, again brilliant).

Unlike the first film, Coppola does not pull off the same level of audience empathy for the Corleone family in the second film. Clearly the life of the crime boss is costing Michael everything while he gains all the power in the world. The first film is more equivocal on that point and also remarkably draws the viewer into a world where the Corleones can be viewed with some empathy. In Part II, Michael is far more cold-blooded and consequently a less sympathetic character. He seems less drawn into the vortex of organized crime by unexpected events, as was the case in the first film, and more the ruthless manipulator.

This is really two great films in one. Vito Corleone's rise to power is portrayed with subtle intensity by DeNiro, always observant and always absorbing important information from his observations. Those scenes really capture remarkably the story of Don Vito's early years woven by Puzo in the novel. Wrapped around that prequel is a marvelous continuation of the original story with remarkable twists and turns and deft uses of historical circumstances (Congressional racketeering hearings and the Castro revolution in Cuba). This is another magnificent film, and fitting second step in the Godfather story.

Don't end the story with the first Godfather movie. See them both. As for Godfather 3, well, if you really want to go ahead, but be prepared for a let down.
About as good as the first one, but mainly because of De Niro
It's rare to see a sequel that is as good as the first; it's even rarer to see the two acting veterans, De Niro and Pacino, together in a film. This is the only film that delivers both. I loved the first Godfather film, for it's acting talent, for it's cinematography, and for it's fantastic story. The acting is every bit as great, and the cinematography is about as good, but the story wasn't exactly as good as the first; had it not been for the flashbacks that showed Vito as young(beautifully portrayed by De Niro), it wouldn't have gotten a perfect rating from me. He saved the film, that was otherwise slow and a little bland, due to the story not being as great as the first. The first showed us a mafia war; this just shows the aftermath, and Michael Corleone's further rise to power, after the fall of Vito in the first. However, the film has a number of flashbacks, that show us Vito as young, and here De Niro perfectly shows us the entire range of his talents, by mimicking Brando's performance to perfection. The plot is good, but not as good as the first; it's saved by the flashback sequences that show us how and why Vito Corleone came to power. The acting is every bit as great as the first. Al Pacino still gives a great performance, like he did in the first, and the other cast members who came back from the first, including Robert Duvall and Diane Keaton, also give as great performances as they did in the first. The new actors also give great performances, though the following stand out as the best; Robert De Niro, Lee Strasberg and Michael V. Gazzo. The characters are as well-written as they were in the first. The mafia is portrayed as menacingly in this as it was in the first. The film, like the first, has it's share of memorable quotes, but not really any scenes that were memorable, like the first one had. All in all, a great film, but mainly because of De Niro and Pacino. De Niro fills Brando's part fairly well, but overall, the film isn't as entertaining and exciting as the first, though it does reach about the same quality overall. I recommend it to fans of the various actors involved, and of course anyone who enjoyed the first, as they should enjoy this one too, but possibly to a lesser extent. 10/10
As good as the original!
I remember saying in my review of "The Godfather" that i was going to review this film a week later, that was more than one week ago that's for sure. I did actually start watching "The Godfather Part II" the next Friday, though i stopped watching after an hour because i wasn't really in the mood for it! So i decided that today, with nothing else to do, i'd give it another try and i wasn't disappointed! It was a great film, lots of talking but it's still great fun to watch.

I only have one criticism, the length. It was extremely long, about 3 and a half hours! But that's my only criticism, everything else was spot on! Hopefully i'll be watching "The Godfather Part III" soon and as soon as i do, i'll post my opinion right here!

So overall, "The Godfather Part II" is just as good as the original Godfather If you haven't seen this film yet, watch it now!

"Michael, I Never Wanted This For You."
Nino Rota's musical score plays an even greater role in this equal but different successor than it did in the predecessor. Yearning, lamenting, stimulating bygone ages, see how infectiously Nino Rota's music affects our sentiments for the savage events on screen. It is the pulse of the films. One cannot imagine them without their Nino Rota music. Against all our realistic deduction, it guides us to how to feel about the films, and condition us to understand the characters within their own world. Throughout the Corleone family's many criminal actions, we understand that one doesn't have to be a monster in order to live with having done them.

In what is both a dual expansion of its predecessor and a masterpiece of juxtaposition in itself, we see Michael Corleone forfeit his remaining shreds of morality and become an empty shell, insecure and merciless. As his father quietly knew in his latter days would be so, Michael has lost sight of those values that made Don Corleone better than he had to be and has become a new godfather every bit as evil as he has to be. The score, with its tonal harmony, its honeyed and emotional aesthetics, is sad, and music can often evoke emotion more surely and subtly than story. Consider several operas with ridiculous stories and lyrics yet contain arias that literally move us to tears.

The devolution of Michael Corleone is adjacent with flashbacks to the youth and young manhood of his father, Vito, played with paternal, home-loving subtlety by Robert De Niro. These scenes, in Sicily and old New York at the turn of the century, follow the conventional pattern of a young man on the rise and show the Mafia code being burned into the Corleone blood. No false romanticism conceals the necessity of murder to do business. We don't look at Vito as a victim of his environment, but a product of the depiction of the resorts to which the Italian culture had turned, initially to both protect their homeland and protect their livelihood as immigrants who came to America to be paid less than the blacks.

The film opens in 1901 Corleone, Sicily, at the funeral procession for young Vito's father, who had been killed by the local Mafia chieftain, Don Ciccio, over an insult. During the procession, Vito's older brother is also murdered because he swore to avenge his father. Vito's mother goes to Ciccio to beg for the life of young Vito. When he refuses, she sacrifices herself to allow Vito to escape. They scour the town for him, warning the sleeping townsfolk against harboring the boy. With the aid of a few of the townspeople, Vito finds his way by ship to Ellis Island, where an immigration agent, mishearing Vito's hometown of Corleone as his name, registers him as Vito Corleone. From this very opening, and the events that gradually follow, we see that Vito's damnable early experiences have enhanced his sense of family, and his experience of revenge as a necessity was passed on to Vito's sons.

The life of young Vito helps to explain the forming of the adult Don Corleone. As his unplanned successor Michael, his youngest child, transforms, we hark back to why, when his true desire is to make the Corleone family completely legitimate, he feels that he must play the game by its old rules. His wife says, "You once told me: 'In five years, the Corleone family will be completely legitimate.' That was seven years ago." What we have are two all-too-real narratives, two superb lead performances and lasting images. There is even a parallel between two elderly dons: Revenge must be had.

I admire the way Coppola and Puzo require us to think along with Michael as he feels out fragile deliberations involving Miami boss Hyman Roth, his older brother Fredo, and the death of Sonny in the previous film. Who is against him? Why? Michael drifts several explanations past several key players, misleading them all, or nearly. It's like a game of blindfolded chess. He has to envision the moves without seeing them. Coppola shows Michael breaking under the burden. We recall that he was a war hero, a successful college student, forging an honest life. Ultimately Michael has no one by whom to swear but his aging mother. Michael's desolation in that scene of dialogue informs the film's closing shot.

So this six-time Oscar-winning three-and-a-half-hour gangster epic is ultimately a dreary experience, a mourning for what could've been. It is a contrast with the earlier film, in which Don Corleone is seen defending old values against modern hungers. Young Vito was a murderer, too, as we more fully understand in the Sicily and New York scenes of Part II. But he was wise and diplomatic. Murder was personal. As Hyman Roth says, "It had nothing to do with business." The crucial difference between the father and son is that Vito is cognizant of and comprehending the needs, feelings, problems, and views of others, and Michael grows in the very opposite direction. Whereas the first movie was a taut ensemble piece, this second part is a more leisurely film that closely studies only these two characters, neither of whom share scenes with each other. Everyone else is periphery.

It must be seen as a piece with the consummate mastership of The Godfather. When the characters in a film truly take on a simulated environmental existence for us, it becomes a film that everyone who cherishes movies to any extent should see at least once.
"The Godfather Part II is the greatest sequel ever made, one of the greatest films of all time and possibly finer than its superb predecessor *****"
The Godfather Part II (1974)

Number 1 - 1974

Top 3 - 1970s

"My father taught me many things. Keep your friends close but keep your enemies closer"

"The Godfather Part II is truly a masterpiece. Timeless, Classic, Beautiful and endlessly watchable"

The second part of Francis Ford Coppola's Epic and violent Gangster Trilogy, follows the reign of Don Michael Corleone as the head of the Corleone family. As well the film shows us the early years of Vito Corleone (Marlon Brando) played flawlessly by Academy Award Winner Robert De Niro, and how he created his empire of money, gambling and respect. Beautifully directed by Francis Ford Coppola, Godfather Part II exceeds every expectation with outstanding performances from Academy Award winners Al Pacino,Diane Keaton, Robert Duvall and Robert De Niro. The second part of this unforgettable trilogy is one of the finest films ever made.

This is cinematic art. A treasure of film history. The finest sequel ever made. A faultless, flawless gripping drama; Coppola's second part of his crime saga is in my opinion one of the top 5 films of all time and perhaps towering over the first part.

"As close to perfection as movies get"

"Pacino at his best"

Not Far Behind The First Film
This isn't quite as powerful as the first Godfather, done two years earlier, but it isn't far behind. It's another magnificently filmed effort, wonderfully acted and a hard film to stop once you've put it in your tape or DVD player.

What makes this a notch below the first Godfather is the absence of Marlon Brando and a little too much disjointedness with flashbacks. Also missing from this film was the volatile James Caan. He was shown in a flashback scene near the end, and that was it.

One thing was just as good if not better than the first film, and that was the cinematography. The browns, blacks, greens and yellows are just great treats for the eyes. I especially love the Italian houses and scenery. Why this was not even nominated for an Academy Award in cinematography is mind-boggling.

The story centers around the brutal vengeance of youngest brother Michael (Al Pacino). It also gives a good demonstration of how the gangster lifestyle may look attractive on the outside but really is an unhappy one despite the wealth.

There are some excellent supporting performances in this film, too. I especially would cite the roles played by Michael Gazzo and Lee Strassburg.
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.
Over ambitious over long and over rated.
At the time of its release, many claimed this to be a finer film than the original. However, the passage of time has been less kind to this than that iconic movie.

Much of the problem stems from the decision to make this both the sequel and prequel to the first film at the same time. So we have the back story of Vito Corleone and the ongoing adventures of his son Michael inter-cut throughout. This adds to the films inordinate length, which would have been long enough if Michael's story alone was told, but here is stretched to almost 4 hours.

Details in both stories fail to convince, the Vito back story most of all. It is scarcely believable that a well meaning outsider could so easily take over the underworld in the manner portrayed. As played by De Niro, he is a Robin Hood 'feared by the bad, loved by the good' but why he is so universally feared not plausible. He could have easily been taken out. The real Vito Corleone would have had to have been much nastier and been prepared to deal with his opponents brutally. His character is whitewashed for Hollywood consumption. And there is some cack handed attempts at humour during, for instance, the slum landlord scene.

There is, of course much fine acting from all, especially in Michael's story arc. This differs from Vito's since while Vito's is very simple, Michael's is very very complex. Too complex perhap. Various well known events from the 50s merely are stuck together to form the backdrop. The Mafia involvement with pre-revolutionary Cuba; congressional hearings; plus a few subtle hints at the Kennedy assassination. The narrative is exceptionally loose and meandering. The writing is surprisingly unsubtle, with clinking plot points being underlined again and again.

The female characters are under-used but make the most of their meagre parts. Talia Shire's impassioned plea to her brother sticks in the mind, but elsewhere she barely speaks a word. Diane Keen has a better role and sinks her teeth into it with gusto.

The film belongs to Al Pacino who dominates this in the way that Hamlet does in Shakespeare's play. Its an accomplished performance as would be expected. There is certainly enough here to make it worth watching, but it could have been much better.
📹 The Godfather: Part II full movie HD download 1974 - Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, Talia Shire, Lee Strasberg, Michael V. Gazzo, G.D. Spradlin, Richard Bright, Gastone Moschin, Tom Rosqui, Bruno Kirby, Frank Sivero, Francesca De Sapio - USA. 📀