The second part of The Godfather, together with the fascinating first installment of the saga and the deliciously imperfect third chapter, is one of the best trilogies in film history. Maybe the best, watch now the second film of the trilogy and enjoy the masterpiece.
A movie is his script (without him there is nothing to do) and, therefore, his characters. The rest, although important, does not support the essence of work. As everyone knows, there are movies that with a matched address or a good assembly to dry, are real jewels. Well, The Godfather II is the great script (signed by Francis Ford Coppola and Mario Puzo), is the set of best profiled characters who have walked the screens throughout history. And, as if that were not enough, it is directed, assembled, set, produced, photographed, decorated and everything you want to add, masterfully.
After the monumental success of the first part, Francis Ford Coppola knew that he had a hard time and that they were going to look with magnifying glass at what he did. So he risked the most.
On the one hand, after receiving severe criticism about his way of teaching the world of crime from a somewhat kind look in the first part of the saga (which is quite debatable) he decided to make things clear and show the most terrifying face of The Italian-American gangsters. And without resorting to great violent scenes because the viewer already knew what each thing was and would have been to relapse for free in something we felt out of focus in each scene. To achieve that effect bluntly, use the character of Kay Adams (extraordinary Diane Keaton) who will be the one that maintains that fearful attitude before a world in which what happens is tremendous and that helps us to understand. The role of women in this movie is very important.
In addition, Coppola decided to tell two very distant stories in time alternately in The Godfather II, leading the viewer from one to another, achieving an almost perfect coexistence, watch online this amazing work. This, which after watching the movie seems to sew and sing, has a huge difficulty. Each temporary space jump is an effort for the viewer; Some can get lost along the way and leave. Not in this case since the assembly is of a unique perfection. The stories of Vito Corleone, since he has to flee his country to avoid being killed by the local gangster until he founded his family in New York; and that of Michael Corleone since taking charge of the Family until reaching the end of his trip to hell; they are counting on an unusual narrative clarity.
It helps a lot that Al Pacino and Robert DeNiro, Michael and Vito, are the actors, the characters. Pacino and DeNiro fill the screen, get overwhelming credibility, are superb. Michael and Vito are two perfect characters in their design and development. But John Cazale and Fredo are the perfect couple (never a character was so helpless and caused so much anguish to a spectator); Robert Duvall and Tom Hagen are that couple that comes from the first part as a testimony of what everything was and never will be. If the main ones are a show (actors and characters), the secondary ones are at an enormous height (for example, Lee Strasberg). This is one of the differences with respect to the first part since the secondary ones acted more than actants illuminating the main ones and without a great depth.
If Coppola's address is extraordinary, Gordon Willis's photograph (muted light tones that lead to sadness on Lake Tahoe; excess of brightness and overexposure in scenes simulating Havana and filmed in the Dominican Republic) is a beginning lesson finally Nino Rota's music (Carmine Coppola also composed some minor pieces) is more varied and versatile than in the first installment (unforgettable that scene with the Corleone family sitting on the stairs of the old portal in Little Italy during the neighborhood parties with a guitarist playing the main piece as a sign of the beginning of a criminal story; shortly before Vito has liquidated a pathetic fantoche gangster named Fanucci); Theodora Van Runkle's beautiful wardrobe; Unparalleled artistic direction. In short, a true work of art.