There are no longer films like The Godfather: Part II (1974). There are no longer directors such as Francis Ford Coppola, capable of directing two masterpieces in the same year: the aforementioned Hollywood blockbuster and The Conversation (1974), an independent winning production of the Palme d'Or and the Grand Jury Prize at the Cannes Festival of 1974, watch now the film and get to know one of the best classics of cinema history.
Considered by much of the public and critics as superior to The Godfather (1972), this second installment shows us a Michael Corleone in the fullness of his power, both inside and outside his family. While dealing with expanding his economic interests in the game, he is dedicated to supplying the absence of his father Vito Corleone as both moral and emotional support of the family. Of course, from an assassination attempt against him, his own paranoia and excessive ambition of power will even lead him to destroy the family structure that he and his own father previously built.
If The Godfather revolved around Michael's initiatory rite in the family business, The Godfather: Part II represents the definitive fall of the protagonist's family relationships and his final isolation from all the affective figures that surround him. The cause is simple as well as complex: it is the blindness that causes an absolute ambition for power, be it economic, political, family or criminal - it is impressive in this sense the number of times Michael orders his henchmen to murder a person; to kill is to exercise an infinite power over the other, postulated that Michael Corleone's mind understands clearly and coldly, since his thirst for power is, precisely, infinite.
The proposal that director Francis Ford Coppola establishes on the story is very interesting. While developing the story of Michael in the late ‘50s, he also toured the childhood, youth and adulthood of his father Vito, at the beginning of the twentieth century. The mechanics of the script is masterful that allows two episodes that, at the beginning, seem not to be interrelated, integrate seamlessly towards the end. Thus, while Michael is eliminating his enemies from inside and outside the family, the young Vito builds the American dream step by step to become the leader of organized crime in New York and form a stable and solid family, whose favorite is casually Little Michael
It makes no sense to describe the varied subplots, pivot points and details of a perfect script like The Godfather: Part II. It is something that must be experienced by watching the film. That is, as in the first installment, the development of the characters is enviable, highlighting the performances of Al Pacino, Diane Keaton, Robert De Niro and that incredible actor who was John Cazale, who gives Fredo Corleone the share of sentimentality, warmth and weakness that contrasts perfectly with the character of Michael. It may seem obvious, but it is never too much to praise the photograph of the great Gordon Willis, the production design of Dean Tavoularis and the music of Nino Rota and Carmine Coppola. Another great merit of Coppola is, precisely, to be able to maintain the same technical team throughout the whole trilogy, which gives the three films a masterful aesthetic and narrative coherence, watch online The Godfather: Part II and see it for yourself.
Despite the new technologies and formats that emerge every few years and serve as desperate attempts to revitalize an industry in slow decline, The Godfather: Part II, just like its predecessor, represents the essence of classical cinema, or dry cinema ; that is, that enormous power to move us that has a well-told, attractive film, capable of clearly exposing an aspect of the world that we cannot see or understand at all.
The Godfather: Part II is undoubtedly an unavoidable part of the history of cinema, a story that must be traveled and reviewed without more, not only by any fan of the seventh art, but also by anyone who boasts of being a lover of the good classic stories that are meant to live forever.