The Godfather Part II is a 1974 crime film directed by Francis Ford Coppola, starring Al Pacino and Robert De Niro. The film presents parallel dramas - one continues the story of Michael Corleone in 1958 protecting his crime family business, while a prequel covers his father Vito's journey from Sicily to founding the family in New York. The Godfather Part II received mixed initial reviews but was nominated for 11 Oscars, winning 6 including Best Picture, and is now considered one of the greatest films ever made.

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2. On Dec. 20, 1974, Francis Ford Coppola
unveiled The Godfather: Part II in wide
release. The Paramount film claimed six
Oscars at the 47th Academy Awards,
including for best picture. The Hollywood
Reporter's original review is below:
Part two of Francis Ford Coppola's
filmization of Mario Puzo's The Godfather
is an admirable, responsible production,
less emotionally disturbing than its
predecessor, but a grand historical epic
studying the nature of power in the United
States' heritage.
In keeping his film emotionally honest, Coppola sacrifices some of the shock value of
his violence, cools the ambition of his visual style, and forgoes the audience
identification with characters that mark a more personal film. This movie's huge
world audience may see it less as entertainment than as condemnation of the
American corporate power structure. It is neither a very happy or driving picture.
But it is intellectually daring and marks an important breakthrough in the growing
up of the Hollywood film. Coppola's screenplay, written with Mario Puzo, builds
itself around the events of the earlier movie, intercutting between a late '50's crisis
in the regime of a young godfather Michael Corleone (Al Pacino) and flashbacks to
the early 1900's tracing the rise to power of Vito Corleone (Robert De Niro), the
character played in the original by Marlon Brando.
The personal side of the story plays variations on the family love versus business
violence ironies that were well explored in the first screenplay. Here the Pacino
character finds out and admits to himself the realities that the audience knew about
him at the end of the first film. Without the first film, there's little to sympathize
with in this cold, ruthless, ego-tripped and power mad character.
Pacino is not shown as a romantic character, but as a man under a great evil burden
throughout. His scowl and guilty eyes constitute a heavy performance.
Ironically, the romantic figure is De Niro, with who the audience can sympathize as
the oppressed immigrant learning how to deal with a threatening culture on its own
hard terms. De Niro carefully prefigures mannerisms that will age into Brando and
acts out the origin of "I'll make him an offer he can't refuse."
This film is the ultimate case for production values. The incredible amounts of
money spent are fully visible on the screen. The large historical re-creations work

3. more as social comment than mere spectacle or backdrop. It is morally important to
Coppola to show the political consensus of large groups of people in a single frame.
The arrival of immigrants past the Statue of Liberty, more gigantic Corleone estate
parties, a flesh pit visit to pre-Castro Havana on the eve of the revolution (shot in
Santo Domingo), the streets of New York's Little Italy in the early 1900's, and a
hearing into Mafia activities in the Senate Caucus Room — all are remarkably
evoked through the masterful work of production designer Dean Tavoularis, with
costumer Theadora Van Runkle, art director Angelo Graham, and set decorator
George Nelson.
Cinematographer Gordon Willis, in another major achievement, veils Pacino's
world with darkness. The visual style is austere, with hard lenses and little camera
movement. To the credit of editors Peter Zinner, Barry Malkin and Richard Marks,
the 3-hour 20 minutes running time, while demanding, is well paced and justified.
Nino Rota revives his very effective themes of romantic decadence. Additional music
and conducting by Carmine Coppola lend authenticity to Sicilian folk strains. The
cast is huge and convincing, though not particularly colorful. James Caan appears
in one quick scene that underscores the loss of Italian family emotionalism which
had been such a major theme in Part I. Ably re-creating their roles as members of
the Corleone household are Robert Duvall, Diane Keaton, John Cazale, Talia
Shire and Morgana King. James Gounaris represents an unhappy third generation
as Pacino's son.
Lee Strasberg is equally ruthless and durable as Pacino's primary enemy in the
struggle to maintain power. Mariana Hill is excellent as an embarrassing in-law for
the family.
Prominent also are Michael Gazzo as an old New York mafia figure, G.D. Spradin
as a corrupt senator, and Gaston Moschin as De Niro's first victim.
Also in the cast are Troy Donahue, Fay Spain, Harry Dean Stanton, Phil Feldman,
and producer-director Roger Corman who gave Coppola his start in the business.

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6. Storyline
godfather
The Godfather Part II is a 1974 American crime film produced and directed by Francis
Ford Coppola from a screenplay co-written with Mario Puzo, starring Al Pacino and Robert De
Niro. Partially based on Puzo's 1969 novel The Godfather, the film is both sequel and prequel to
The Godfather, presenting parallel dramas: one picks up the 1958 story of Michael Corleone
(Pacino), the new Don of the Corleone crime family, protecting the family business in the
aftermath of an attempt on his life, the prequel covers the journey of his father, Vito Corleone
(De Niro), from his Sicilian childhood to the founding of his family enterprise in New York City.
The Godfather Part II opened to mixed reviews from critics, many of whom
praised its cinematography while finding its nonlinear narrative disorganized. It
was nominated for eleven Academy Awards, however, and became the first
sequel to win for Best Picture. Its six Oscar wins included Best Director for
Coppola, Best Supporting Actor for De Niro and Best Adapted Screenplay for
Coppola and Puzo. Pacino won the BAFTA Award for Best Actor and was
nominated for the Academy Award for Best Actor.
Both The Godfather Part II and its predecessor remain highly influential
films in the gangster genre, and the former has been reevaluated. In 1997, the
American Film Institute ranked it as the 32nd-greatest film in American film
history and it retained this position 10 years later. Some have deemed it superior
to the 1972 original. It was selected for preservation in the U.S. National Film
Registry of the Library of Congress in 1993, being deemed "culturally,
historically, or aesthetically significant".
The Godfather Part III, a later sequel, was released in 1990.

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