🎦 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.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1080 px 20591 Mb h264 128 Kbps mkv Download
HQ DVD-rip 852x480 px 2378 Mb h.264 1500 Kbps flv Download
One of the Best Sequels Ever
You can count on one hand the movie sequels that measure up to the original; GODFATHER II makes the cut. This movie is just as fine as GODFATHER I. Here the director goes back and forth between the early days of the young Vito Corleone, played by Robert De Niro, and the family after the action in GODFATHER I in the 1950's just before Castro came to power. Michael Corleone (Al Pacino) has moved the family and most of his business to Nevada. Once again the acting is flawless. Diane Keaton as Michael's wife who quickly becomes disillusioned with her life with him and the lies he continues to tell her, assuring her that he is going legitimate soon; Robert Duvall as Michael's adopted brother and adviser; and Lee Strasberg as Hyman Roth all give outstanding performances; but the film really is Al Pacino's. We see him become a ruthless, cold-blooded killer who alienates himself from his family in ways his father would never have done. He has come so far from the idealistic young man in "GODFATHER I, who joined the Marines in World War I to serve his country and die for it if necessary, to a lonely, paranoid tragic man. There are many poignant scenes concerning his wife and children-- the drawing his son leaves for him in his bedroom, the gift that Tom buys the child because Michael is too busy, his wife Kay's being kept a virtual prisoner at his orders in the family compound, etc.

Once again many acts of violence are interwoven with religion: Michael's son's first communion, the religious parade in New York, Fredo's repeating the Rosary in order to catch a fish, for example.

The cinematography is stunning; the footage from Sicily and New York around the turn of the century and the snow scenes from the American West are beautiful and rich in detail. Mr. Coppola has directed yet another masterpiece.
The Best Sequel, Prequel, and Movie Ever Made
Normally, movie sequels aren't very good. They are usually just rushed cash-grabs to make money off of a successful property, but occasionally they can be just as good, if not better, than the original film, as rare as this is. ("The Empire Strikes Back," "Terminator 2," "Aliens," "The Dark Knight," and "Spider-Man 2" are examples of these.) Prequels are not so different, and are even harder to pull off. So, normally, the 1974 follow-up to Francis Ford Coppola's 1972 masterpiece "The Godfather" would have a lot to do in order to top the original. But, despite this, "The Godfather Part II," is, in my opinion, not only better than the original, but also the best movie of all time. (I take back what I said in my review of the original about it being the best ever made, I hadn't seen this one yet.)

"The Godfather Part II" is actually two films in one. Expertly presenting two story lines, one sequel and one prequel to the original, half of the film follows late-1950s Michael Corleone, now as the head of the Corleone crime family, expanding his power and picking off his enemies, becoming less and less like the man at the beginning of the previous film. The other half follows his father, Vito, in 1920s New York as he creates the empire that later gets passed down to Michael. Both stand out on their own, but the two story lines, brilliantly put together, create a masterpiece that is yet to be matched.

Like the first movie, the best element of this movie is the acting. Al Pacino returns as Michael, in what is undoubtedly his best performance of the two films. (I can't say the best of his career, because these two are the only movies of his I have seen. Sorry, "Scarface" fans.) He is perfect as a man who, through gaining power, loses his humanity. If you have read my review for "Lawrence of Arabia," you'll remember I named some performances that would be on a list of the Top 10 Best Movie Performances. I have no doubts that Pacino in this film would be right on there.

Before watching this, I had doubts as to how the movie would make do without screen legend Marlon Brando, as his character is twenty-five years younger, and so played by Robert De Niro. (I haven't yet seen "Taxi Driver" or "Raging Bull.") But after watching it, I feel that he is just as good, and he really deserved his Oscar win for Best Supporting Actor. He is so good that I can't decide who did a better job, him or Brando. Good thing he wasn't cast in the first film, otherwise the world wouldn't have this terrific performance.

Although Pacino and De Niro are the highlights in this movie's cast, the others are excellent as well. Robert Duvall as Michael's stepbrother, Tom Hagen, really sells his conflicted loyalty/fear of his changing stepbrother. Lee Strasberg as Hyman Roth, a man who Michael is trying to kill, is excellent. Diane Keaton as Kay, Michael's wife, really shows how she is frightened at what he has now become. And, of course, there is John Cazale as Michael's brother Fredo, the weakling who tries to be stronger than everyone says,but things don't go according to plan. (I won't go into specifics.)

Just like the first film, another great aspect is the script. Doing one story line would be hard enough, but the fact that the movie does both so well, so flawlessly, is just amazing. It reintroduces the characters we already know, and take them to further places and develop them more, and also introduces more. It features parallels to the first movie, with similar scenes that show how things have changed. This installment also feels more epic than the first one, as things get bigger and darker.

The film is also marvelous in its technical aspects as well. The score by Nino Rota, once again, is beautifully haunting, and even better than in the previous film. The cinematography by Gordon Willis continues to shine. (Even though, ironically, he himself has regretted some scenes that he felt were too dark.) The production design is fantastic, and it helps with the epic scope I mentioned previously. The violence is more realistic, and somewhat more graphic, which gives it a better impact. The editing is also good, as the two story lines are connected beautifully. If I have one problem with the movie, it is that it is slower than the previous film, as it's longer by twenty-five minutes, and 3.3 hours makes for a pretty long movie. But, taking into account how brilliant the rest of the movie is, that can be forgiven.

This film is so amazing, it astonishes on every level. I may have been disappointed that the first film only won three Oscars, but fortunately this one managed to get six, including a second Best Picture, which were all well deserved. (I have no idea how Pacino didn't get Best Actor, but, according to "Some Like It Hot," "Nobody's perfect.") Clearly topping the original, "The Godfather Part II" is the Best Film of All Time, so of course, I have to give it a 10/10 rating.
Truly a masterpiece
Often seen as possibly a greater film than even "The Godfather" this film is truly remarkable. Part of the film is a pre-quel, with Robert De Nero playing a young Marlon Brando (is that a dream casting or not?) partly it's the story of Michael Corleone as he grows into the role of Godfather. Again brilliantly filmed, great acting, a great story of love revenge etc. but in some ways it's harder to sympathise with Michael as he slips further into a hell of revenge and murder. Like watching a car-crash.
One of the best films of all time
The Godfather II, in my opinion, is just as good as the first. So rare is it for a sequel to be as gripping and as well-made as this movie is. First off, I have to mention the excellent musical score. It gives the film a sort of dark, moody atmosphere, and I think it was a very good idea to use the same score as in part I. Secondly, the idea of inter wining the story of Michael Corleone and of his early father Vito was brilliant and makes this sequel stand out from the first part. This idea of showing two stories in one film could have been quite risky and confusing but Coppola did a fantastic job at it. Both stories are very clear to follow and show the contrast between Vito and his son's way of handling the family business.

Of course, I cannot comment on this movie without mentioning Al Pacino's awesome performance. He definitely should have won the best actor's Oscar for that role. He has unbelievable screen presence and plays incredibly well the ruthless, suspicious Michael Corleone. The most poignant scene of the film, in my opinion, is definitely the one where Michael finds out at the party that his brother Fredo betrayed him.
Best Sequel Ever
This, perhaps the greatest sequel ever, tells the parallel stories of Michael's struggles as the new Godfather and the rise of the legendary Vito Corleone. The presentation of Vito's story is particularly impressive, with DeNiro in a fine performance. Michael's story tends to bog down at times but never fails to be compelling. Pacino is terrific, as are Duvall, Cazale, and Strasberg. The cinematography is beautiful and Rota builds on his memorable score from the first film. Coppola pushes all the right buttons, letting the stories unfold majestically. Having made the two Godfather films by age 35, the talented director had nowhere to go but down.
more complex and even richer than the original
It's rare for a sequel to match its predecessor, but the follow-up to Francis Ford Coppola's monumental mob family drama does more than simply continue the same story, expanding on themes only suggested in Part One to present an ambitious overview of organized crime in 20th century America. The Corleone family tree is divided here into parallel histories, with young Vito (Robert De Niro) arriving in the New World to begin a family, and a family empire, which a generation later his bitter and lonely son Michael (Al Pacino) would consolidate, destroying in the process everything he holds dear. The sudden displays of gangland violence are no longer placed in ironic juxtaposition to the unlikely richness of Corleone family values, being used instead to measure the corruption of il padrone's immigrant idealism: murder to young Vito is strictly a matter of honor, but to Michael it's only an extension of his absolute power. The crosscutting between two stories sacrifices a consistent narrative flow in favor of complexity and depth, but it's a fair trade, and seen together with Part One (Part Two should not be seen without the introduction provided by the earlier film) is a rich experience not soon forgotten.
Great Movie. Another Winner from Francis Ford Copolla
Warning! Spoilers Ahead!

"The Godfather, Part II" is another gem of a movie, worthy of a place alongside its revered predecessor. This movie's strengths lie in Copolla's retention of the best actors from the first film mixed in with terrific new actors for the second. John Cazale, Lee Strasberg, Robert de Niro and Michael Gazzo are given their moment to shine here, and play credible and unforgettable characters. Al Pacino, Diane Keaton, and Robert Duvall reprise their roles from the first movie, and put in an equal amount of effort to the first film, which means that the second is also very good. Copolla had a lot more creative freedom with this picture, but it doesn't differ much from the first in terms of style and camera angles. Still, the director does an admirable job crafting an interesting and wonderful film.

Pacino's Michael Corleone is, in the first, a quiet and understated character most of the time, only this time, whenever the character is riled by a tragic event, Pacino lets out his infamous "scream" to emphasize that his character is like a dangerous time bomb with an unpredictable temper: one minute he's calm, the next he's in a rage. Unfortunately, Pacino is most remembered for his loud, bombastic performances rather than his understated quiet ones. Keaton appears to have less screen time, but, like her husband Michael, undergoes a credible transformation from the naive, submissive character we remember from Part I into an assertive, strong woman who will not give in to her husband. She asserts control over her own body by aborting her baby rather than letting Michael have another heir to his criminal empire. Again, Keaton's performance is usually cited as the weakest of the "Godfather" saga, but this seems unfair, and she does well whenever she has screen time. Robert Duvall is back with another excellent turn as Corelone family adviser Tom Hagen.

The new faces do very well here, and again, Copolla was blessed with an excellent cast. Gazzo is simply delectable as mobster Frank Pentangeli, one of cinema's most memorable characters. One minute he's a lovable old man, sometimes seeming as dopey and sweet as your great-uncle, asking the band to play an Italian "tarantella"; the next he's viciously asking for the blood of the Rosato Borthers. He, ultimately, cows to Michael's control during a Senate hearing, just as he is about to rat him out.Gazzo, a prolific playwright, showed he had the chops as an actor as well. Another memorable performance is the Italian actor who played the gangster Don Fanucci, a dandy tyrant who shakes down Italian immigrants for protection money. He, like the guy who played "The Turk" Solozzo in Part I, is a convincing actor who can make a slimy villain come to life. He seems to relish his role as the white coated mobster who confidently rules the neighborhood with an iron fist. Less potent is Lee Strasberg's Hyman Roth, who, after Don Fanucci, is the film's main antagonist. Roth's true evil is only revealed in other characters' dialogue and indirect screen action rather than anything we see Roth do on the screen. I wasn't fully convinced that Roth was a cunning double-crosser, as we don't actually see him engage in the double-cross. Strasberg gives an understated performance as the kingpin of the pre-Castro Havana casinos (an obvious representation of real-life gangster Meyer Lansky). Still, Strasberg does have some memorable moments, such as the famous "This is the Business We've Chosen" speech he gives to Michael.

Fresh performances from John Cazale and Robert de Niro round out this movie. We don't see much of Fredo in Part I, but he's essential to Part II. Cazale gives a memorable performance as the meek, weak, sweet, but ultimately treacherous middle brother of the Corleone family. His flaws include his lack of intelligence and possible naiveté, which ultimately result in his being a pawn in Roth's scheme to kill Michael. Fredo wants the keys to the kingdom, but will settle for some power, and Roth apparently offered him something special for his services. All Fredo says is that "there was something in it for me!", but what this was is rather vague; still, Fredo's ties with Roth are enough for Michael to commit the darkest murder he will commit in the saga: fratricide. We almost feel sorry for Fredo as he sweetly tells his nephew how to catch a fish by reciting a "Hail Mary," right before Michael has one his goons shoot him from behind on a fishing trip. Fredo may be the rather weak and dopey member of the Corleone clan, but Cazale also manages to humanize Fredo and make a memorable performance as the ultimately tragic odd man out in the "family business."

Part II carries with it a sadder tragedy than Part I, as Michael "loses his family," in terms of his wife's abortion and departure, and Fredo's treachery and his eventual murder. It is in Part II that we see the full scope of the perils of a life of crime in terms of keeping a family together. Even Don Vito, while running a criminal empire, was able to somehow keep his family glued together. We see the sad irony when Michael's mother tells him "you will never lose your family."

This is an excellent movie, much like the first one. Copolla does well here. (Copolla's further career is debatable. Radio host Phil Hendrie once gave a hilarious criticism of Copolla's career: "what do you mean 'Charlie don't surf?!'") He directs beautifully here, and the actors cooperate by giving excellent performances. This is a highly recommended movie.
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.
The perfect sequel
The accepted wisdom about sequels is that they tend to be less good than their predecessor as there is no story left to tell. The second Godfather is an embarrassment of riches in as much as there are two stories; the back-story of Vito Corleone's arrival in America and that of Michael making good his grip on the inherited business.

All the fine film-making that made the first so rich has been replicated and improved in this most handsome movie. Again we begin with a great set-piece (a Catholic confirmation) as a swarming expository melange of character and situation but which takes its rather more sober tone from the film's prologue, telling of Vito's flight to America. The familial infections that poison this particular, warped Italin-American dream are doubly intense given that Michael is now the capo - where the threats of the first came from without, now there is danger within.

Pacino's performance is first-class, never once resting on the laurels of his previous Oscar nomination. He is matched across the board by the rest of ensemble; Diane Keaton, Duvall and the twitchy Cazale are fine, and I've always been a fan of Talia Shire whose performance as the Michael's widowed sister is a magnificent, discreet study in intractable sororial bitterness and love. A deeply sad and violent movie but one which never rules out the possibility of sympathy or redemption. An awesome achievement. 9/10
Didn't get it
I was compelled by the storyline & performances therein but at the end of the movie I just didn't get it. It was to much a misch-masch of stuff & I just didn't get much out of it.

Godfather 1 is the definition of a film, a true classic. This is a sequel with mixed-bag emotions. I think it's something of a let-down. Not a huge one, but yeah. It is a let-down.
📹 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. 📀