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The musical score plays an even larger role in “The Godfather: Part II” than it did in the original film. It evokes feelings we shouldn’t really feel for this story and wouldn’t if the music were more typical for a crime movie. It is nostalgic, mournful, and conjures up bygone periods. Why should we lament the fall of a government based on homicide, extortion, bribery, thievery, and the brutal will of men in fear? Watch how effectively Nino Rota’s music affects our perception of the gruesome events portrayed on film.
We have seen Michael Corleone (Al Pacino) develop from a young man who wanted to distance himself from his family to one who did not hesitate to assume control by the time Francis Ford Coppola’s masterpiece “The Godfather” (1972) comes to a close. He loses his last surviving moral fiber in “Part II” (1974), turning into a merciless, insecure shell. If there is any self-pity in the music, it is Michael’s. Michael has lost track of the principles that made Don Corleone better than he had to be and has turned into a new godfather who is just as evil as he has to be in an effort to fill his father’s shoes. We might see Rota as more closely resembling Tony Montana in a better movie, Brian DePalma’s “Scarface,” if Rota’s music had been upbeat and pounding. (1983). The score, however, is depressing, and music frequently evokes emotion more subtly and effectively than narrative. an s………………
Flashbacks to Vito Corleone’s childhood and manhood serve as a counterpoint to Michael Corleone’s decline. (Robert De Niro). The Mafia code is evidently ingrained in Don Corleone’s DNA in these scenes, which take place in Sicily and historic New York and follow the typical pattern of a young man on the rise. There is no feigned romanticism to hide the necessity of using homicide as a business tactic. a.,.,.,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, and. We have a natural tendency to connect with a movie’s point of view. Here, the crime serves as a further rung on Vito’s career ladder.
Undoubtedly, Vito’s early life serves to establish the Sicilian code of omerta in the movie and to explain how the adult Don Corleone came to be. We can see Michael’s motivation for changing as he does so. He has to adhere to the regulations of the game. But I’m not convinced if the film benefits from the flashbacks. I would have liked to see distinct movies about young Vito and Michael’s development. Forget it. We have two engrossing stories, two outstanding main performances, and enduring visuals. In fact, there is a similarity between the demises of two senior dons. There must be retribution.
In both movies, Coppola is in top form, and if I disagree with the morality of the main characters, then so do we all. We all concur that people shouldn’t kill each other, but that still doesn’t explain why these movies keep appearing in small global canons that almost everyone seems to have seen. They are expertly written, artistically and confidently directed, and Gordon Willis (“The Master of Darkness”) shot them in pleasant, rich tones. The performance is excellent in both movies. Harry Lime, Scarlett O’Hara, Travis Bickle, and Charles Foster Kane are just a few examples of characters we can name from numerous movies, but how many movies can we identify six or more characters by name? The parts of Brando, Pacino, De Niro, Duvall, Cazale, Caan, Diane Keaton, Lee Strasberg, Talia Shire, Michael V. Gazzo, and others were excellently chosen, used to their full potential, and suited the actors.
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The Michael scenes in “The Godfather: Part II” move us as a narrative alone. I appreciate how Coppola and co-writer Mario Puzo make us consider what Michael is thinking as he makes difficult choices involving Hyman Roth (Strasberg), the Miami boss; Fredo (Cazale), his older sibling; and the shooting of Sonny. (James Caan). Who did what, exactly? Why? Michael deceives all of the principals—or almost all of them—by floating different stories in front of them. He must imagine the movements without being able to see them, similar to playing chess while wearing a blindfold.
But in the end, Michael is the main focus. Even the night of his son’s first communion party saw an assault on his bedroom rather than our bedroom. When his wife Kay (Keaton) leaves him, he remains steadfast in his decision to raise his boy. The most reliable confidant of father and son, Tom Hagen (Duvall), who is regarded as a sibling, is now even suspected. Paranoia serves as a helpful defense mechanism in Michael’s existence.
Coppola depicts Michael crumbling under the strain. We recall that he was once a devout military hero, a prosperous college student, and a man of integrity. But it wasn’t until the day of their wedding that Kay truly understood what an all-encompassing cocoon the Corleone family was. There would always be things she couldn’t be trusted with or told about. Finally, Michael has only his ailing mother to confide in. (Morgana King). Everything about the movie’s concluding shot is explained by Michael’s desperation during that tense discussion.
The Godfather Part Ii Quiz
Finally a depressing movie, “Part II” is undoubtedly a dirge for loss. In the previous movie, Don Corleone is seen defending traditional values against contemporary hungers. As we can more clearly see in the Sicily and New York sequences of Part II, young Vito was also a murderer. However, he had developed wisdom and diplomacy, so when he passes away next to the tomato patch, we do experience regret. An era has ended. We don’t lament Michael’s decision to back down. The main distinction between the two movies is that Vito is likable while Michael turns evil. That is a remark rather than criticism.
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Since popularity is the main factor, IMDb.com’s “best films” poll lacks trustworthiness. However, millions of people do vote, and as of this writing, “The Shawshank Redemption,” “The Godfather,” “The Dark Knight,” and “The Godfather: Part II” are the top four movies, in that order. My three-star evaluation of “Part II” has generated the most debate of any review I have ever written. It is occasionally just used as evidence of my worthlessness. Many people have informed me that “Part II” is a rare example of a sequel that is superior to the original. Am I now reconsidering? No. When I reread my review of “Part II,” I found nothing I would alter.
What makes it a “great movie” then? Because “The Godfather” must be viewed as a work with equal greatness. The two hardly stand alone (Part III is a different story). When a character in a different movie produced 30 years later can claim that “The Godfather” contains all the life lessons you need to know, when an audience comprehends how that statement could be made, a movie has established itself as a cultural cornerstone. Despite the fact that not all of the texts are equally “good,” we could not live without them.
The movie “The Godfather: Part II” is now one that anyone who appreciates pictures at all should watch. It is also visible in astoundingly excellent prints as I write this. Robert Harris, a specialist in his profession, has painstakingly restored the “Godfather” trilogy digitally. I’ve seen “Part II” on the new Blu-ray DVD and the restored “Godfather” on the new 35mm picture. I would contend that they have never looked better, having first seen them both at their global premieres. That is an accomplishment for movies with such a complex visual style.
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And now I return back to the music. More than ever, I am sure it is instrumental to the power and emotional effect of the films. They are inconceivable to me without their Nino Rota rankings. They dictate how we should feel about the movies, in direct opposition to all objective reason. As the large vehicle enters Miami, pay close attention to the opening notes. A stirring echoe of Bernard Hermann’s music for “Citizen Kane,” another movie about a man who achieved his goals only to lose them, can be heard.
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Reminder: The first and second parts’ freshly restored 35mm prints will be shown at the Music Box, 3733 N. Southport. Both “Part I” and “Part II” are currently showing (except for Monday) from today through October 9. The series is now available on Blu-ray.
For more personality quizzes check this: 80 For Brady Quiz.
