Category Archives: Talia Shire

1979 Films, Burgess Meredith, Burt Young, Carl Weathers, Drama, Sports, Sylvester Stallone, Talia Shire

Rocky II-1979

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Rocky II-1979

Director Sylvester Stallone

Starring Sylvester Stallone, Talia Shire, Carl Weathers

Scott’s Review #1,317

Reviewed November 24, 2022

Grade: B+

Rocky II (1979) is a terrific sequel and entertaining sports film. It doesn’t recreate the wheel or challenge cinematic artistic freedom or expression or anything like that. But, it knows what it wants to achieve and gets there in fine fashion.

It’s a straight-ahead vehicle that capitalizes on the enormous critical and commercial success of Rocky (1976) and enthralls with a winning final climax- in the squared boxing circle naturally.

The film is a crowd-pleaser through and through and the powers that even let boorish actor Stallone, notoriously difficult, take the director’s reigns (yikes!).

The actor even writes the screenplay for the film.

Events begin immediately following the first Rocky film which is a wise decision. Cocky world champion Apollo Creed (Carl Weathers) has defeated working-class Philadelphia boxer Rocky Balboa (Stallone) in the closest of battles with both men requiring medical attention.

Despite vowing not to engage in a rematch, Rocky’s Cinderella story has caught the national sports media’s attention, and he now has the opportunity to capitalize on his sudden fame. Creed arrogantly prods his newfound nemesis into getting back into the ring.

Plagued with financial problems and a pregnant wife Rocky is goaded out of retirement and back into the ring for the fight of his life.

Supporting players Talia Shire (Adrian), Burgess Meredith (Mickey), and Burt Young (Paulie) return to the fold which provides excellent continuity and familiarity, another key to Rocky II’s success.

Additionally, Shire, Meredith, and Young are such top-quality actors that they enhance Stallone’s performance.

Rocky is unquestionably the best role of Stallone’s long career. Never known for great acting chops, he won the lottery with this iconic role and did quite well with him on the second time out.

The character is impossible not to root for and the Italian Stallion’s charisma shines across the big screen. Who doesn’t like an underdog especially when all he cares about is the timid Adrian (another underdog)?

His ‘Yo, Adrian, I did it!’ is legendary.

I’ll never cease being enamored with Shire’s portrayal of Adrian as compared to her other iconic role of Connie Corleone in The Godfather films. Adrian and Connie are like night and day which is a big part of the fun of viewing them both.

Of course, the setup of Rocky II is contrived and the storyline dictated. We know the final thirty minutes or so will showcase the bloody rematch between Rocky and Creed and we the audience salivate thirstily as the fight approaches.

There exists some trivial plot about Adrian giving birth to their son (named Rocky Jr. obviously) and slipping into a coma only to be resurrected by determination and giving her blessing for Rocky to fight but we all know what’s coming.

Like clockwork, the final fight arrives! As the men slug it out through fifteen brutal, sweaty rounds, the editing is fantastic. The sequence feels like a retread because it sort of is but it still provides an enthralling and bombastic finale.

Fans will not be disappointed.

Sure, Rocky II suffers from a saccharine romance and a predictable ending but it’s also a feast for the eyes and the ultimate sports match-up.

Compared to Rocky (1976) the film is a letdown despite carefully keeping the Philadelphia underdog, blue-collar elements that made the original such a hit.

Subsequent sequels would parlay into nationalistic, patriotic nonsense using the Cold War as a prop but Rocky II (1979) remains all-American and robust in spirit and climax.

1990 Films, Al Pacino, Andy Garcia, Bridget Fonda, Diane Keaton, Epic, Francis Ford Coppola, Mario Puzo, Mob, Sofia Coppola, Talia Shire

The Godfather: Part III-1990

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The Godfather: Part III-1990

Director Francis Ford Coppola

Starring Al Pacino, Diane Keaton, Andy Garcia

Scott’s Review #533

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Reviewed December 3, 2016

Grade: B+

The Godfather: Part III, released in 1990, has traditionally been met with unwavering criticisms for not being as great as the two preceding epics.

Sofia Coppola, who plays Mary- daughter of Michael Corleone, in particular, has bared the brunt of the attacks.

No, The Godfather: Part III is not on the level of the others, but is pretty damned good based on its own merits and is a capable mob epic to conclude the franchise satisfyingly.

The central theme is Michael’s continued desire to leave the mafia and religion, and the Catholic Church are central themes of the film.

Some backstory to the making of the film; Coppola had a non-expiring offer to create a third installment to the saga ever since 1974 when Part II was released.

Having had a financial crisis, 1990 was the time Coppola agreed to do the follow-up.

The ever-crucial role of Mary (now a coming-of-age young lady) was to be played by Julia Roberts, who dropped out. Winona Ryder was then cast and bailed at the very last minute.

Out of necessity, Coppola’s daughter Sofia was cast and had little time to prepare or much acting experience (she would later become an acclaimed director, which better suited her talents).

In a similar fashion to the other epics, a big event launches the film, as Michael (Pacino) is named Commander of the Order of Saint Sebastian in a lavish ceremony at St. Patrick’s Old Cathedral.

It is revealed that Michael is approaching age sixty and semi-retired, leaving his business dealings mainly to Joey Zasa in New York, who has ravaged what the Corleone family had once built.

Many characters- Kay, Mary, Tony, and Connie, are re-introduced, and new characters such as Vincent Mancini (Andy Garcia) and Don Altobello (Eli Wallach) are introduced, in a flurry of new storylines.

It is like a big, grand, soap opera, with wonderful, rich, writing.

I was immediately impressed by the neat cinematography- the camera captures wind-swept leaves and an artistic introduction to the film, as well as either mentioned or appearing in cameo roles, small characters from the first two films- a great touch in continuity and history.

Coppola does a fantastic job of providing little updates on these characters during a party. For example, we learn that Vincent is the deceased, illegitimate son of Sonny, his mother being Lucy Mancini, who appears in a scene. (Clever viewers will remember Sonny and Lucy’s torrent affair in the bathroom during The Godfather-it is suggested that this produced Vincent).

It is mentioned that Tom Hagen (Robert Duvall) has died, though his wife and son appear, and Coppola treats us to a myriad of flashbacks (Apollonia, a young Michael, and Kaye).

These nuances make The Godfather: Part III filled with cool little aspects that fill the loyal viewer with warmth.

The main story- Michael takes Vincent under his wing- and strives to steer the family clear of criminal ties- is interesting, if not spectacular. Connie rises from a battered mafia wife, raising kids, to a major player in the family, just as women progressed from the 1940s to the 1980s when the story takes place.

She even feeds her godfather a poisoned cannoli!

Michael, Vincent, and Connie involve themselves with the Catholic Church, bailing them out (the real-life Papal banking scandal is linked to the story) and making a deal with them for major shares of a real estate company, Immobiliare.

In-fighting between the major crime mob bosses leads to several bloody massacres throughout the film, on the streets, in Atlantic City, and finally, in the Sicilian Opera house.

The pairing of cousins and lovers, Vincent and Mary, never really works, nor does Bridget Fonda’s one-two-scene appearance as Grace Hamilton, a brief dalliance for Vincent. Also, the exclusion of the character of loyal family attorney Tom is a glaring omission.

So the film does contain a few negatives.

In a nutshell, The Godfather: Part III (1990) is a very good, epic, crime drama even without the Godfather name. To measure up to the glory of Parts I and II are impossible.

With the bonus of having the rich Corleone family history and the intricate relationships between the characters, this makes for a treat for fans.

There has not been a Part IV, nor should there ever need to be as the conclusion of the film is a satisfying wrap-up to the saga.

Oscar Nominations: Best Picture, Best Director-Francis Ford Coppola, Best Supporting Actor-Andy Garcia, Best Original Song-“Promise Me You’ll Remember”, Best Art Direction, Best Cinematography, Best Film Editing

1974 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Danny Aiello, Diane Keaton, Drama, Epic, Francis Ford Coppola, Harry Dean Stanton, James Caan, John Cazale, Mario Puzo, Mob, Robert De Niro, Robert Duvall, Scott's Top 100 Films, Talia Shire

The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 100 Films #3

Scott’s Review #197

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Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and technically also a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal and even surpass the original in its greatness, creativity, and structure.

The Godfather Part II (1974) feels deeper, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Ford Coppola had complete freedom to write and direct as he saw fit with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is a highly interesting and effective decision.

The story alternates between the early twentieth century following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958 as Michael Corleone is faced with a crumbling empire, through both rivals and the FBI- investigating him and holding Senate committee hearings in Washington D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film from Michael’s wife, brother, and mobster allies revealed to be cagey enemies. Michael grows uncertain and mistrustful of almost everyone surrounding him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced- Hyman Roth, played by Lee Strasburg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo are intriguing characters and their allegiances are unknown throughout most of the film- are they loyal to the Corleone’s or deadly enemies?

The character of Michael goes from conflicted to all-out revenge-minded, including revenge sought on members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him. He is much older and a changed man.

Similar to the original Godfather, the opening scene is a large celebration- this time Anthony Corleone’s first communion celebration. Also in comparison, the finale of the film involves major character deaths one after the other.

Unique to this film are the multiple location scenes- New York, Nevada, Italy, Florida, and Cuba are all featured making for an enjoyable segue throughout and a bigger budget.

The blow-up confrontation between Michael and Kay is devastating and shocking in its climax. When Michael punches Kay in a sudden rage, the audience also feels punched.

The wonderful scene at the end of the film with the entire family gathered around for Don’s fiftieth birthday in 1942 is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the greatest aspect of The Godfather Part II simply known as “Godfather” and patriarch of the family, his life as a boy and young father are explained so we see how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps the poor and the victims of ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors, and helps them, believing in fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed. It remains vital and should be viewed and analyzed again and again and again.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

1972 Films, Al Pacino, Best Film of the Year, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Francis Ford Coppola, James Caan, John Cazale, Mario Puzo, Marlon Brando, Mob, Robert Duvall, Scott's Top 100 Films, Talia Shire

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 100 Films #10

Scott’s Review #196

60011152

Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history and was such a blueprint of 1970s cinema that its legend deservedly lives on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when originally released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of the crop of organized crime families.

The patriarch of the family is known as “The Godfather”, the real name is Don Corleone, played by Marlon Brando.

The eldest son is hot-headed Sonny, played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature and the weak link in the family.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with either steering the Corleone family business toward the straight and narrow or continuing the death, blood, and corruption that currently encompasses the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie- the temperamental and emotional sister, and Mama Corleone, the passive wife of Don complete the main family.

The various supporting characters are immense, from family friends, relatives, corrupt mob figures, and characters introduced when Michael lives in Italy.

The brilliance of The Godfather is the richness of the enormous amount of characters on the canvas and the structure and pacing of the film.

Even small characters are vital to the film and every scene is important and effortlessly paced so that they neither seem rushed nor dragged, and the film is immeasurably character-driven.

My favorite character is Michael Corleone as he is the most troubled and complex. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a waspy woman who has no Italian heritage.

When events develop in a particular way, Michael suddenly becomes the leader of the family, despite being the youngest son, and the complexities of the character deepen from this point.

Specifically, the revenge killing sequence is brilliant as the viewer is kept on the edge of their seat through a car ride, a meal in a restaurant, and a men’s room scene, until finally, all hell breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites- the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure, one can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, the improvised tomato garden scene with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene involving Corleone’s son Sonny at the toll booth is mesmerizing, brutal, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome, but unfortunately, circa 1940s mafia, this is the way things were.

One could make the argument that Kay Adams, played by Diane Keaton, is the strongest female character as she questions the Corleone family’s motives and attempts to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The finale of the film is breathtaking- a combination of bloody kills mixed in with a peaceful scene of Michael accepting the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed- others view Michael as not a hero, but rather a complex, tortured, bad guy.

One simply must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Marlon Brando (won), Best Supporting Actor-James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing