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.
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.