🎦 The Godfather: Part II full movie HD download (Francis Ford Coppola) - Crime, Drama, Thriller. 🎬
The Godfather: Part II
Year:
1974
Country:
USA
Genre:
Crime, Drama, Thriller
IMDB rating:
9.0
Director:
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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Reviews
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.
2006-04-03
A few historic flaws, but one of the best glimpses into turn-of-century NYC
What else can be said about The Godfather series? One small gripe: The storyline shows young Vito Corleone (Robert Deniro) murder the local boss, then basically take control of the neighborhood. Historically, there would have been a dozen other guys in line to take the boss's spot -- young Vito, with no real connections outside of his petty thief neighbor, would have been disposed of immediately. In real life, bosses were bred into the position or it was taken hostilely from the inside. By the era that this movie portrays, Sicilian black handers and Neapolitan Camorra (among others) were fairly organized -- But, hey, its a (great) movie :)
2010-04-09
A unique experience
I had already seen this movie 2 times, but last weekend I could watch it in a cinema, and it was awesome. The movie is perfect in all subjects, with incredible performances and a catching story.

It's nice to see how Coppola make us hate Michael for all the things he does, mainly the situation with Fredo. In this aspect, it's a opposite situation if we compare with The Godfather: Part I. In the first movie we love and respect Michael, and of course Vito, but in this film we can't. It's sad to see how Michael forgot what was the most important thing for Vito, the family.

It's a masterpiece even without the first part. In fact, it's a movie that make you feel a lot, even more than the first.

If in a strange moment of your life, you can have the opportunity of watch it in a cinema, don't doubt.

PD: Sorry for my English, it's not my native language.
2015-04-18
The greatest sequel ever made and equally as good as the original
It seems impossible to think that the first Godfather could be topped, but its direct sequel may be even better. It effectively takes all the elements from the first and makes them bigger and more complex, as well as revolutionising the idea of flashbacks. The plot is possibly the greatest of all time, the characters are more diversely fascinating and everything feels even more epic than before.

The plot is split in two, one following the Corleone family in modern day and the other early life of Vito. The first follows Michael who is now Don as he attempts to expand the family business into Las Vegas. He faces much dissatisfaction in his own family, from Capo Frank Pentangeli and his own sister. He later survives an assassination attempt, and as he tries to learn who made the attempt he also faces a committee investigation that tears his family apart. This story is one of the best in film history, everything about it is incredibly set-up. The second charts the young life of Vito Corleone as he raises his family in New York and aims to build his own legacy. This sees him challenge the local Don and gain friends to help him achieve his goal. This part gives us a true insight into how all of what we're seeing started and is a fantastic mirror image to the modern events.

The huge cast is once again truly outstanding. Al Pacino gives an incredible performance as we see Michael transform into a cold monster who has no feelings for his family. The way Pacino shows the struggle as he edges closer to the abyss is astonishing. The other star is John Cazale as Fredo, he is outstanding as the timid Fredo, the chemistry between himself and Pacino sets their scenes alight. Robert Duvall is solid as a rock once again as the reserved Tom, while Diane Keaton is great showing Kay as confused and frightened of her situation. Michael V. Gazzo is superb as Frank showing him as a genuinely troubled person. Richard Bright deserves praise as, despite few lines, he commands the screen as the loyal but brutal Al Neri. Joe Spinell is great as the doubtful Cicci as is Lee Strasberg as the devious Hyman Roth. Robert De Niro made his name here, he plays Vito with assured comfort and is just as good as Brando, which is praise itself.

The film looks stunning. It is lit similar to the first and carries the same gloomily authentic feel being very atmospheric. The scenes of early New York and of Sicily are both excellent having a very natural look to them. The music from Nino Rota is once again marvellous. The script is full of classic lines, "Keep your friends close but keep your enemies closer" and "I don't want to kill everyone, just my enemies" to name but two. It's great how the film focuses more on Michael and it's reflected by the look at Vito. Michael grows increasingly paranoid and unstable as he places the family business above all else. We see the differences in how the family is set. Vito's was built on loyalty and love, whereas Michael's family is built on fear and violence. It is a fascinating contrast which the film itself is built on, the whole scope is formed from this showing the pleasant start of the family and then it's tragic fall. There are so many classic scenes, Michael finding out the traitor, Kay's pregnancy reveal, all of the conversations with Fredo, the scenes at the hearing and the famous 'fishing trip' to name a few. The final shot of Michael sitting alone is one of the most memorable of all time.

The Godfather Part II is a breath taking achievement in film and has possibly the greatest story ever put on screen.
2013-10-29
Travesty abounds.
The Godfather: Part II is not a sequel in the traditional Hollywood sense, rather a companion piece to one of the greatest films ever made in The Godfather. Here, the story is epic and sprawling, as it covers Michael's reign as the new head of the Corleone family by moving the business to Nevada and at the same time flashes back to show the story of how a young Vito Corleone came to power and started the story now being continued.

Francis Ford Coppola returns to his old ground with writing partner Mario Puzo to expand on Michael and establish Vito and doing so by going back and forth. This leads to some incredible shots of the young Vito and the young Michael in the same frame, a haunting image and symbol of how far this family has come. It also shows how far Coppola has come in terms of directing these films. Once again, his direction is immaculate in every sense, perfectly balancing the time between Michael and Vito, always picking the right time to go from story to story.

All this aside, I haven't even mentioned the other strong points, which are basically all of them. The flawless acting continues here with Al Pacino cementing his legacy in this very subdued yet emotionally upsetting performance as Michael, the youngest who seemed ostracized from his family at the beginning and now has all the power and success and none of the love or affection his father had. Indeed, one of the main themes of the film is to show how different Michael handles things from his father and whether or not he is a better leader. Diane Keaton, Robert Duvall, Talia Shire and the tragic John Cazale all contribute so much in their roles, and Robert De Niro made his name known with a flawless performance as the young, ambitious and loyal Vito.

Once again, Gordon Willis photographs and once again the darkness shrouds the characters, symbolizing the heavy-handed situations surrounding them. This adds so much to the tone and atmosphere of the story that it completely takes us up in the story and makes the 200 minute running time fly by smoothly. The Godfather and The Godfather: Part II have long been recognized as required viewing for any film lover and I cannot argue. They are so well-made and engrossing that it is impossible to not feel for these characters and the choices they make.

The final two scenes are quite something to behold. The first is a flashback to see the kids waiting for Vito to surprise him on his birthday. Here, we see how Michael truly was treated and how Sonny, Tom, and Connie related to one another and how it colored the rest of their existence. The final scene is Michael, alone and contemplating everything that has happened. It is a scene for the audience to contemplate and wonder at the travesty that has abounded. And these two films are truly something to behold and admire for their sheer quality and intensity.
2009-11-19
One of the greatest sequels ever made
After seeing The Godfather and improving it as one of my favorite films, I wanted to get more into The Godfather so I rented this. Words can't describe how great this sequel was. The acting once again was amazing and the story and how the movie went on just never got me bored. Everything in this movie was clearly beautiful. The ending by far was my favorite when there all sitting at the table talking. There were so many great scenes like Vito when he was younger, Fredo at the lake, and many many more. You have to see this movie because it's just brilliant filmaking. It's not better than it's first film but still an extremely worth sequel.

10/10
2004-09-12
"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.
2009-02-22
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.
2007-07-16
Sorry, but it just didn't deliver
OK. Let's get real. The Godfather is beyond excellent in every single way. I'm not giving comments on The Godfather, because it would be almost blasphemy. Nevertheless, I expected much more on part II. Personally, I didn't like it. Here's the deal: the story was way too slow paced. Nothing really happened. Only the hit on Michael's house, and the build up for young Vito's story was what makes you interested. The rest is just anti-climatic and dull. The dialogs weren't as quotable or stand alone as in the first. I thought as a sad imitation of the real thing.

Al Pacino's performance was absolutely superb. The problem wasn't that. The whole character was what failed. In the first, we get the glimpse of a warm man, but gets cold when is needed. A man who thinks before he talks. In this one, we see a man who is cold and heartless every single time you see him. He no longer has the eminence that Vito Corleone once had. The previous Don was eminent and even though he could scare the hell out of you with his stare, you respected and looked up to him. Now, his son is just pure evil. And that doesn't make sense. In the book, it's clear that Michael is the living image of his father. So, what happened? Him killing Fredo was completely useless. Even if he did betray him, there was no need to have him whacked. A Don just doesn't kill anyone from his own family (not "the Family", the real one). I know, Michael did kill Carlo, but let's remember he was not really family, just an in-law, and he did deserve what was coming. Another thing I personally hated was what happened to Connie. As you will see in the third, she radically changes from the naive Don's daughter to... Sorry, wrong movie. Anyway, all the other aspects, (filmmaking, score, performances, photography)were indeed flawless.

It's interesting. You can perfectly notice Coppola's anatomy for each "Godfather". You start with a prologue, then a religious ceremony and/or a party afterward, the plot then starts and a pivotal point is a hit on the Don. The rest is a slow, yet properly thought vengeance that ends with a gigantic and operatic blood bath. However, for part II, it wasn't's that operatic or with the same effect than part I. It was anti-climatic, and pretty disappointing.

Another flaw I found was that the story doesn't really stick to the book. One key aspect in the film didn't even appear in Mario Puzo's novel: Vito Corleone never returned to Sicily. The name of the Don who had his family killed doesn't even matter. Still, the scene prominently explains Don Tomassino's condition from the first.

Now, don't get me wrong. I'm a die hard fan of "The Godfather". I consider it to be the best movie ever (and the best novel ever, too). But part II just doesn't do it for me.
2007-11-17
The Continuation of the Corleone Family Saga of Ambition,Ruthlessness and Amorality Is Once Again A Masterpiece
The saga of the Corleone family continues from "The Godfather" in this classic film directed by Francis Ford Coppola entitled "The Godfather Part II" that was released two years after the original film was released.

This movie that stars Al Pacino and Robert De Niro,who portrays Michael Corleone and the young Vito Corleone respectively,together with Robert Duvall,Diane Keaton,John Cazale,G.D Spradlin, and Method acting teacher Lee Strasberg,tells the parallel story of the expansion of Corleone crime family headed by Don Michael during the 1950's and the rise to power of the young Don Vito during the 1920's.

No question that the themes of corruption,ruthlessness,amorality and ambition continues in this film as both Michael and the young Vito continues to pursue their respective American dreams in this parallel story being told when both father-and-son were at the same age.We get to see Michael expands the family's gambling operations in Cuba and his pursuit to making the Corleone family legitimate while dealing with rival mobsters who intend to eliminate him like Frank Pentangeli and Jew mobster Hyman Roth.It also tells the story of how he dealt with the federal indictment by the U.S.Senate.As for the young Vito,we get to witness from how his family got killed by the local mafia chieftain Don Ciccio in Corleone,Italy and how he migrated to New York a young age.Then,it narrates how he started as an ordinary worker and then rose into stature and power after dealing with the area's extortionist,Don Fannucci and killing Don Ciccio to strengthen his family's power in both the United States and in Italy.

This was definitely one great film just like the original.It definitely would compare to the first film as we get to witness two great parallel stories of ambition and rise to power.In addition to that,we also get to see how much the characters of Vito and Michael deteriorated into becoming ruthless,corrupt and amoral as their power and stature increased.

Aside from great stories,we also get to see great performances from its lead stars - Al Pacino and Robert De Niro - wherein the latter won an Oscar for his portrayal the young Vito.Added to that,we also get to see great performances from the other members of the cast such as Lee Strasberg,who got nominated for an Oscar as the Jew mobster, and Diane Keaton as Kay,the embittered wife of Michael.

After more than 43 years since it was initially released in the theaters while this review is currently written,it would still be a fun to watch and it will hold up.Just like what I have stated in my review of the first film "The Godfather",I also would say that this film that tells the story of amorality,ruthlessness and ambition "The Godfather Part II" is truly a masterpiece.
2017-08-30
📹 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. 📀
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