It was ranked as the 32nd-greatest film in American cinematic history by the American Film Institute in 1997 and it kept its rank 10 years later. Like its predecessor, the sequel remains a highly influential film in the gangster genre. Pacino won the BAFTA Award for Best Actor and received a nomination for the Academy Award for Best Actor. Nominated for 11 Academy Awards and the first sequel to win for Best Picture, its six Oscars included Best Director for Coppola, Best Supporting Actor for De Niro and Best Adapted Screenplay for Coppola and Puzo. The film was released in 1974 to great critical acclaim, some even deeming it superior to the original.
#The godfather 2 cast series
The main storyline, following the events of the first film, centers on Michael Corleone (Pacino), the new Don of the Corleone crime family, trying to hold his business ventures together from 1958 through 1960 the other is a series of flashbacks following his father, Vito Corleone (De Niro), from his childhood in Sicily in 1901 to his founding of the Corleone family in New York City. Partially based on Puzo's 1969 novel, the film is in part both a sequel and a prequel to The Godfather, presenting two parallel dramas. The Godfather Part II is a 1974 American crime epic that Francis Ford Coppola produced, directed, and co-wrote with Mario Puzo, starring Al Pacino, Robert Duvall, Diane Keaton, and Robert De Niro. Judging by his skill on Coda, we should all be looking forward to what Coppola does next.0071562 " Keep your friends close but your enemies closer." ― Michael Corleone But he could in truth go in a dozen different directions. His infamous musical One From the Heart, for example, has real potential and stands out as a good candidate. The good news for us is that Coppola has plenty more of his less successful films to tinker with. But this is thought to be the one which achieves the biggest jump on its predecessor, and that’s of little surprise. After all, this isn’t Coppola’s first rodeo on the recut front: he has fiddled with Apocalypse Now and The Cotton Club, to good effect, in the last couple of years alone. They manage to frame the entire series in a new lens and offer a profundity otherwise lacked in long stretches of Coda. The final scene (we always knew Coppola could nail one of those) and - more importantly - the final shots are unforgettable. Having “The Death of Michael Corleone” in the title makes latter plot events clear enough, but what Coppola gives his most iconic character in Coda is a fate much worse than death. Yet what this version has is a truly stunning final few frames to rival the first two, a clear change from Part Three. What that original version has which this doesn’t I don’t particularly want to know. How many directors have cut the runtime of a film and at the same time improved it? These are no surface-level changes, either: Coda is minutes shorter than the theatrical Part Three. And Robert Duvall was right when he turned his part down: the script isn’t exactly a work of art.īut Coppola was right to recut the most notable of his failures - on which, more later - and has in truth done a staggering job. Unfortunately, tragically, Sofia Coppola’s acting is a little iffy - if not the notorious flop performance many have spent the past three decades calling it. New characters strain to fill the hefty shadows of their predecessors and, inevitably, don’t. In stark contrast to the slick politics of Part Two, the relationship between Corleones and the Vatican is convoluted, heavy-handed and not particularly gripping, either. An abundance of homages to the first films quickly become tedious. No master of editing could make that happen. Of course, it’s not nearly as good as the first two. Having not ever seen the original cut of what has become the ugly duckling of the trilogy, I was very happy that Coppola’s new Coda is as good as it is. Well, that’s what most who saw Part Three said when it was first released thirty years ago. Never an entry of its own to the Godfather story. Part Three, he says, was always supposed to be that way.
#The godfather 2 cast movie
At the beginning of his introduction to his new recut of the third Godfather movie, titled The Godfather Coda: The Death of Michael Corleone, Frances Ford Coppola offers an important clarification.Īdding the word “Coda” to an already unwieldy title, Coppola makes a subtle but significant admission: that the third movie is, by his definition, an “additional overture”, little more than an epilogue to the first two classics which made it possible.
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