The early life and career of Vito Corleone in 1920s New York City is portrayed, while his son, Michael, expands and tightens his grip on the family crime syndicate.
Francis Ford Coppola’s The Godfather is a dazzling piece of filmmaking, rightly lauded as one of the greatest movies of all time. But, 50 years on, is it time to acknowledge that the film is a monstrous siren call for our worst political instincts?
The Godfather bore witness to the bitter truth: evil, hydra-headed, renews itself and triumphs in the end; in America, the Corleones win.
The Godfather II is a sequel to a film whose narrative drive and choreographed violence made it one of the better genre films of recent years. It is colder, more severe, less violent and much more ambitious than the original The Godfather.
by Marjorie Rosen In Hollywood circles the adage, “You’re as good as your last picture,” holds more truth than is
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.
American director Francis Ford Coppola interviewed by William Murray for Playboy magazine, July 1975 issue
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