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The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Francis Ford Coppola

Starring Al Pacino

Top 250 Films #2

Scott’s Review #197

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Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and, technically, a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal, if not surpass, the original in greatness, creativity, and structure.

The Godfather Part II (1974) feels more profound, more complex, and ultimately richer than The Godfather, and it is a masterpiece.

Part II is much darker in tone. Francis Ford Coppola had complete freedom to write and direct as he saw fit, with no studio interference.

The result is a film masterpiece.

The film is divided into two parts, an exciting and practical 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 gets a modest job as a grocery stockboy and eventually rises to power in the mafia.

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

Betrayal is a common theme, as Michael’s wife, brother, and mobster allies are revealed to be cagey enemies. Michael becomes increasingly uncertain and mistrustful of almost everyone around 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, including Hyman Roth, played by Lee Strasberg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo.

These characters are intriguing, and their allegiances remain unknown throughout most of the film: are they loyal to the Corleones or deadly enemies?

Michael evolves from conflicted to all-out revenge-minded, even seeking revenge against members of his own family. He 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 has changed.

Similar to the original Godfather, the opening scene is a large celebration- this time, Anthony Corleone’s first communion celebration.

Additionally, the film’s finale features the deaths of several significant characters, one after another.

Unique to this film are the multi-location scenes, featuring New York, Nevada, Italy, Florida, and Cuba, which create an enjoyable segue throughout and support a larger budget.

The blow-up confrontation between Michael and Kay reaches a devastating, shocking climax. When Michael punches Kay in a sudden rage, the audience feels it too.

The incredible 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 most significant aspect of The Godfather Part II, known as “Godfather” and the patriarch of the family.

The film shows his life as a boy and a young man, showing how he became one of the most powerful men in the crime world.

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

Ultimately, 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 repeatedly.

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)

Golden Globe Nominations: Best Picture- Drama, Best Director-Francis Ford Coppola, Best Actor-Drama-Al Pacino, Best Screenplay, Best Original Score, New Star of the Year-Actor-Lee Strasberg

1970 Films, Drama, Favorite Film of the Year, International, International Drama, Italian, Political Drama, Top 100 Films, Top 250 Films, Top 50 Films

The Conformist-1970

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The Conformist-1970

Director Bernardo Bertolucci

Starring Jean-Louis Trintignant

Top 250 Films #34

Scott’s Review #212

Reviewed January 10, 2015

Grade: A

The Conformist, directed by Italian director Bernardo Bertolucci and based on the 1950s novel by Alberto Moravia, is a complex film that tells the story of one man’s complicated life during the Italian Fascist era (1922-1943).

Due to a traumatic childhood event, he is troubled and strives to “conform” to a “normal, ” traditional lifestyle despite his underlying wounds and desires, which he struggles to repress.

The character in question is Marcello Clerici, played by Jean-Louis Trintignant, who works for the secret police in support of the Fascist government.

Marcello yearns for a quiet life that everyone else seems to have. He is set up with a beautiful new wife and is ordered to assassinate his college professor, who is a leader of an anti-Fascist party.

Throughout the story, Marcello is tormented by flashbacks to his troubled childhood, and the film delivers a marvelous, creative use of camera angles, style, and design.

It is a dreamlike film that makes full use of the protagonist’s childhood memories.

The film is a character study of the highest order, yet it is also beautiful to look at, making it multifaceted.

Marcello is troubled, as his backstory shows. In many ways, he is weak, refusing to accept who he is or admit his deepest desires.

Amid his complexity is a unique character named Anna (Dominique Sanda), the college professor’s gorgeous blonde wife, who appears bisexual and entices both Marcello and his wife, Giulia, played by Stefania Sandrelli.

Marcello, in particular, becomes transfixed and obsessed with Anna.

A truly heartbreaking moment arrives later in the film and is my favorite scene in The Conformist. As the assassination attempt is made on a lonely and secluded, yet picturesque country road, the result is murder, betrayal, and surprise.

When one character nonverbally speaks to another, mainly through facial expressions, and emotionally and pathetically pleads for their life through a car window, it is as tragic as it is poetic.

The scene is wrought with drama and sadness.

Additionally, Marcello’s troubled childhood involving a homosexual experience with a chauffeur named Lino resurfaces years later in an unlikely way and leads to the shocking conclusion of the film.

The very last frame of the film leaves the viewer wondering what will happen to Marcello next.

Marcello’s mother and father add mysterious layers to the film. His father is securely an inmate in a mental hospital, while his mother is a boozy older woman who sleeps until noon.

While the film doesn’t explore these characters as thoroughly as it might, it still leads one to wonder why Marcello is the way he is and whether his parents shape his persona.

In a particularly fascinating scene, Anna seductively dances with Marcello’s wife at a crowded dancehall; they do the tango, even as, amid her affair with Marcello, she is clearly in love with his wife, making the dynamic confusing yet fascinating to view.

The Conformist heavily influenced storied directors such as Frances Ford Coppola, Martin Scorsese, and Steven Spielberg.

A beautiful scene of leaves blowing in the wind almost mirrors a similar scene contained in Coppola’s The Godfather: Part II (1974).

A film as captivating as it is influential, The Conformist is an interesting watch for its style and the mystique that surrounds it.

Oscar Nominations: Best Screenplay Based on Material from Another Medium

Golden Globe Nominations: Best Foreign Film (Foreign Language)