AMC Total Ratings: 30 (avg 4.5) Excellent Review The inimitable Godfather story continues in The Godfather Part II. Unlike many critics, I don’t feel the sequel has the weight of the original — many feel it to be better than the first film — but it certainly is a necessary and extremely good follow-up, adding a wealth of information about ‘the family’ that only serves to enhance the experience of the original movie. The problem, of course, is how could you measure up to The Godfather? The truly memorable scenes from the series — the spilling cart of oranges, the horse’s head, Michael’s vengeance in the Italian restaurant, ‘an offer he couldn’t refuse’ — are all found in the original, not here (or at best, they are simply repeated in the sequel). Godfather 2‘s most memorable moments — the Senator’s private meeting with Michael (‘My offer is this: Nothing.’), the denouement of Fredo — pale in comparison. Well, not exactly pale, but you can’t say that Godfather 2 is as good as Numero Uno. The story this time out takes two strikingly different parts and glues them together.

Part one traces the childhood of the ‘dumb-witted’ toddler Vito Corleone (later Marlon Brando) as a kid in Italy. His father is assassinated in 1901 by the local mafia boss, sending him packing for Ellis Island in America. Flash forward to 1958, when Michael, now Don in Lake Tahoe, Nevada, is handing out favors after his son’s communion. Michael is now getting the gambling ring set up on the west coast in an attempt to go legit, like his father wanted. This also brings him to try to make a deal with Hyman Roth (played by 73-year-old acting teacher Lee Strasberg in his first movie) to take over his Cuban operations when he dies — and much of the film takes place on the island. Flash back to 1917, when young Vito (now played by Robert De Niro) is earning his comeuppance in New York. Here we learn of his rise to power as an underworld mobster, and of Vito’s cold-bloodedness that takes him into the life we’ve come to know so well.

Technically, Godfather 2 is just as aptly produced as the original, though by the time we get to the revolution in Cuba, things have gotten a bit garish, losing the austerity and subtle, dim lighting of the original film. It’s just too hard to watch duplicity under the harsh rays of the Caribbean sun. The scenes of Michael’s Grand Jury investigation also drone on too long, and feel awfully C-SPANish. That aside, give Godfather 2 credit especially for its prequel moments. De Niro is spectacular — almost without any lines — as the young Vito. As director, Coppola proves once again that he is the master and that Martin Scorsese is the imitator. If you’re new to the Godfather series, I recommend checking out The Godfather Saga — Coppola’s chronological re-edit of the first two films (albeit de-violenced and profanitied for TV) that includes a few extra minutes of footage. It gives you the whole picture in a more comprehensible fashion… if you have about 6 hours to kill.

In 2008 a new version of the trilogy has become available on DVD and Blu-ray Disc, remastered and restored by Coppola and including all the extras from the 2001 DVD edition plus a number of new featurettes about the making of the film, red carpet premieres and short films about the classic. The Godfather Part II - Microsoft Store The Godfather Part II 1974 • Drama • 3 h 22 min • English • HD (292) $15.99 This brilliant companion piece to the original The Godfather continues the saga of two generations of successive power within the Corleone family. Coppola tells two stories in Part II: the roots and rise of a young Don Vito, played with uncanny ability by Robert De Niro, and the ascension of Michael (Al Pacino) as the new Don. Reassembling many of the talents who helped make The Godfather, Coppola has produced a movie of staggering magnitude and vision, and undeniably the best sequel ever...

Buy HD $15.99 From this director Synopsis This brilliant companion piece to the original The Godfather continues the saga of two generations of successive power within the Corleone family. Coppola tells two stories in Part II: the roots and rise of a young Don Vito, played with uncanny ability by Robert De Niro, and the ascension of Michael (Al Pacino) as the new Don. Reassembling many of the talents who helped make The Godfather, Coppola has produced a movie of staggering magnitude and vision, and undeniably the best sequel ever made. Robert De Niro won an Oscar®; the film received six Academy Awards, including Best Picture of 1974. Actors Vito Corleone | The Godfather Wiki | Fandom powered by Wikia ―Vito Corleone [src] Vito was born on December 7th 1891 , in the small Sicilian village of Corleone to Antonio Andolini . In 1901 , his father, Antonio was murdered by a Sicilian Mafia boss named Don Ciccio because he refused to pay tribute to him.

His older brother, Paolo , swore revenge, but was himself murdered soon after; Paolo's murder was timed with the ultimate insult: during the funeral procession for his father. Eventually, Don Ciccio's henchmen came to the residence of the Andolinis to take Vito away and have him killed as well. Desperate, Signora Andolini took her son to see the Mafia chieftain herself. When she went to see Don Ciccio, she begged for forgiveness, but Don Ciccio refused, reasoning that the younger boy Vito would also seek revenge as an adult. Upon Don Ciccio's refusal, Signora Andolini put a knife to his throat, allowing her son to escape at the expense of her own life. Later that night, he was smuggled away, fleeing Sicily to seek refuge in America on a cargo ship full of immigrants. Unable to speak English, he was renamed on Ellis Island as Vito Corleone when the immigration clerks saw the tag pinned to his clothes labelled "Vito Andolini from Corleone". Coming to America "Do me this favor. I won't forget it. Ask your friends in the neighborhood about me.

They'll tell you I know how to return a favor..." ―Vito Corleone [src] Young Vito at Ellis Island in 1901. Vito was later adopted by the Abbandando family in New York , and he befriended Genco Abbandando , who became like a brother to him. When he was eighteen, Vito married and started a family. Vito began making an honest living at Abbandando's grocery store on Ninth Avenue, but lost the job, as an intimidated Abbandando was forced to employ the nephew of Don Fanucci , a blackhander and the local neighborhood padrone. Vito was forced to take up an unstable job doing back-breaking labor for the railroads, which he also lost during a mass-layoff. Vito's money troubles were soon solved when one night, a neighbor of Vito's, Peter Clemenza , asks him to hide a stash of guns for him, and later, to repay the favor, takes him to a fancy apartment where they commit their first crime together, stealing an expensive rug.

They soon became friends and, joined by a friend of Peter's named Salvatore Tessio , the three soon learned to survive and prosper through petty crime and performing favors in return for loyalty. The three made good money by hijacking garment trucks, Vito being vital to these hijackings since he was one of the few people in Manhattan 's Little Italy at the time that knew how to drive a truck. Don Fanucci Vito Corleone assassinates Fanucci. Young Vito, Tessio and Clemenza. New York, in 1917 , 'Don' Fanucci became aware of the partnership between Vito, Clemenza and Sal Tessio, and demanded that they "wet his beak", IE, pay tribute to him. Fanucci had threatened to inform the police if the trio didn't pay a substantial portion of their ill-gotten gains. Clemenza and Tessio were alarmed and had wanted immediately to pay Fanucci, quite certain that he was connected to the Mafia. While his friends were busy panicking, Vito calmly recalled everything he knew about Fanucci and the Mafia (the "Black Hand" as referred to in this part of the story).

He remembered that the padrone walked the streets with no obvious protection, which had led to an incident where Fanucci was knifed by several neighborhood boys whose families he had tried to extort. He later murdered one of the boys, but had called off the vendetta after the families of the remaining two paid him an indemnity to foreswear his vengeance. Vito guessed that Fanucci actually allowed himself to be bought off because he had gotten lucky and would be unable to kill the remaining two boys now that their guard was up, suggesting Fanucci worked alone. Vito came to the realization that Fanucci only acted like he was a mob boss in front of easy-to-trick immigrants, as no mafioso would allow an assassin to live, even if paid enormous sums of money, and no member of any mafia would ever need or resort to informing the police as a threat. Thinking further, he decided that Fanucci's life was not worth $700. Vito asked his friends to leave everything in his hands to convince Fanucci to accept less money, telling his friends "I'm going to make him an offer he can't refuse".

When Vito later met with Fanucci, he offered only a fraction of the amount demanded — $100 of the $600 Fanucci expected. Fanucci is impressed with Vito's courage, and offered him work. Vito interpreted his ability to low-ball Fanucci as a sign of the latter's weakness, thus confirming his suspicion of Fanucci's vulnerability. Vito then allowed Fanucci to leave the building, so witnesses could confirm that he left alive. Vito had chosen the day of a major festival to spy on and follow Fanucci from the rooftops as Fanucci went home, and surprised him at the door to his apartment. He shot Fanucci three times with a muffled pistol, as the din from the festival and the towel Vito had wrapped the muzzle of his pistol in drowned out the noise from the gunshots. After the hit, Vito retrieved the money Fanucci had taken earlier in the day and then destroyed the gun, dismantling it and dropping it down vent pipes of the apartment building.

Despite all the precautions he had taken to insure that he wouldn't be suspected, it turned out that the police thought Fanucci was scum and were in no hurry to find his killer, believing it was a routine gangster execution. With Fanucci dead, Vito earned the respect of the neighborhood, becoming known as a "Man of Respect" on the streets, and was soon asked to intercede in local disputes, gaining a reputation for never turning down someone who came to him for help and for being able to "reason" with "unreasonable" people. Although he had declined to do so at first out of modesty, Vito eventually started accepting "gifts" from local businesses and racket bosses in return for "ensuring that our patrons know that they are safe", and Vito was soon making a wage of $100 a week (in the 1900s this was an enormous amount of money). Vito, Clemenza and Tessio eventually took over the neighborhood, treating it with a great deal more respect than Fanucci did. Genco Pura Don Vito Corleone in the early 1920s.

With the profits he was gaining, Vito started an olive oil importation business, Genco Pura , with his friend Genco Abbandando. The company eventually becomes the biggest olive oil importer in the nation, thanks to Vito's subtle "reasoning" with store owners. While a excellent moneymaker in it's own right, in the later years he used it as a legal front for his growing organized crime syndicate, while amassing a fortune with its illegal operations, which started during Prohibition , when he used his olive oil trucks to smuggle alcohol in from Canada. Vito soon started to protect small neighborhood speakeasies, learning early the value of political protection. In 1922 , he returned to Sicily for the first time since leaving 21 years earlier. Vito quietly located and killed the thugs who Don Ciccio had sent to kill him as a child during his exodus from Sicily. He and his partner, Tommasino then set up a meeting with the aging Don Ciccio under the pretense of gaining his blessing for the olive oil business, where he kills him by carving his stomach open—thus avenging his murdered father, mother and brother.

The 1930s Don Vito dances with his daughter one last time. By the early 1930s , Vito Corleone had established the Corleone family along with old friends Peter Clemenza and Salvatore Tessio , who would become his caporegimes . Genco Abbandando would become the first consigliere of the family. By this time, everyone, even his closest friends, were referring to him respectfully as "Don Corleone" or "The Godfather". He soon intervened in a problem involving a dangerous thug named Luca Brasi , making the man his personal enforcer. During the Depression, when most people demeaned themselves to make mere pennies a day, Don Corleone offered good-paying, secure jobs to anyone willing to work for him. Anyone who came to him for help, Don Corleone helped with goodwill and encouraging words. He planned for the future by financing the education and careers of bright young neighborhood boys who would soon become lawyers, assistant DA's, even judges. Large numbers of grateful Italians asked his advice on who to vote for in office elections, giving him a great deal of political power.

He even hired a lawyer to organize a system of police payoffs, and insisted on paying as many officers as possible, whether they were needed at the moment or not. When Prohibition ended, Don Corleone decided to offer a partnership with Salvatore Maranzano , the big shot gangleader who controlled all the gambling in Manhattan. Vito offered a political umbrella which would help Maranzano expand his rackets into new areas, and Vito would get a share of the profits. However, the short-sighted and short-tempered Maranzano, thinking that Vito was trying to forcibly buy him out, declared war on the "upstart" Corleone, touching off the Olive Oil War . When the war started, it seemed that Maranzano had the upper hand, with business contacts, and alliances with the Tattaglia family and Al Capone in Chicago . However, the Corleones were far better organized, had far greater intelligence contacts, had greater political power and police protection, and had deceived Maranzano into believing that Tessio's operation in Brooklyn was a separate gang. The War turned into a stalemate until Maranzano called on Al Capone to send his two best gunmen after Vito.

Thanks to their contacts in the telegraph business the Corleones learned of this early on, and Don Corleone sent his enforcer Luca Brasi to intercept and eliminate the hitmen in a most horrifying fashion. Brasi and several men abducted the two hitmen, drove to a warehouse, tied them up, and Luca personally hacked one of the men to pieces with an axe, while the other swallowed his gag in terror and suffocated. Vito sent a letter to Capone a few days later, the message being clear: you can either join me, or else stay out of my way. Not wanting to lose any more valuable men, Capone decided to remain neutral. The incident was a turning point in the War; Maranzano had severely underestimated just how powerful and crafty the Corleone family really was, and was soon losing soldiers who had lost faith in his ability to win. While Clemenza's regime hacked away at Maranzano's power structure (and in the process gaining loyalty of the unions who had been oppressed by Marazano's thugs), Vito then sent in the held-back Tessio regime for the deathblow.

By New Year's Eve 1933 , the Corleones eliminated Maranzano and his empire, and established themselves as the most powerful of the families in New York. While he oversaw a business founded on gambling, bootlegging, and murder, he was known as a kind, generous man who lived by a strict moral code of loyalty to friends and, above all, family. He tried to spread these values throughout the New York crime world; he disagreed with many of the vicious crimes carried out by gangs and so sought to control crime in New York by either consuming or eliminating rival gangs. Known as the Pacification of New York , the area of the city was left under the control of Five Families . He also started the Commission , in an effort to pacify America's underworld in preparation for WWII. He also disapproved of hard drugs, such as those peddled by his fellow Don, Philip Tattaglia , which led to a deep resentment between the two that would continue for years. A straitlaced man concerning sexual matters, he also held himself above prostitution, another reason for his intense dislike of Tattaglia, whose primary business was prostitution.

Don Corleone was also said to be able to find multiple profits and opportunities in everything. An example of this occurred when his daughter Connie became engaged to a friend of her brother's, a hoodlum from Nevada named Carlo Rizzi . The Don sent several men on his payroll to Nevada to learn about Rizzi, and came back with information regarding legalized gambling there, which the Corleone family capitalized on in the years to come. By this time, he was married with four children, and had several godchildren as well, including big-time singer and actor Johnny Fontane . While he loved all of them, he was most proud of Michael , an intelligent college graduate who's future the Don had "special plans" for. Unfortunately Michael (and everyone else) assumed these "plans" as involving the "family business", and often defied his father, enlisting in the Marine corps against his father's wishes and becoming a decorated World War II veteran. In actuality, Don Corleone had wished for a life away from the "family business" for his son, for him to gain power publicly and legitimately, like a governor or senator.

It wasn't until after Michael had voluntarily took over as Don that his father explained this to him, exposing the grand irony: both had tried to keep him out of the Mafia, yet he still wound up following in his father's footsteps. The fall and rise of the family The Don is shot. In December 1945 , Vito was nearly killed in an assassination attempt after he refused the request of Virgil Sollozzo to invest in a heroin operation and use his political contacts for the operation's protection. The deal would also involve an alliance between the Corleone & Tattaglia families that Vito would rather have avoided. Prior to the assassination attempt, Vito Corleone left his office in the Genco Pura Olive Oil warehouse. He was supposed to be driven back to his Long Beach home by his regime man Paulie Gatto along with his son Fredo . When the Don found that Paulie was not there, Fredo let him know that Paulie had bunked his duty of that day due to a cold. The Don was ambushed and shot down by two hitmen as he purchased oranges from a stall.

Fredo fumbled with his gun, and fails to defeat the hitmen, falling to the sidewalk and sobbing as his father lies in a pool of blood, unconscious. The assassination attempt is simultaneous to other multi-directional attacks on the family: Vito's most trusted and feared enforcer Luca Brasi was sent to infiltrate the Tattaglia family several weeks earlier, but was taken by surprise and murdered in a nightclub by Tattaglia's son Bruno , Tattaglia associate Sollozzo and an unnamed hitman. Following the assassination, Tom Hagen was kidnapped and told to reason with Santino , who was now the acting head of the family. Sollozzo was unaware that Vito had survived and was furious when he discovered this fact. There was a second attempt on his life at the hospital , which was foiled by Michael, who had his father taken to another ward and scared off Sollozzo and his assassins with the help of Enzo Aguello , which was avenged (against Vito's wishes) by the murder of Bruno Tattaglia.

Michael had to flee to Sicily after assassinating Sollozzo and his bodyguard Captain McCluskey (something which greatly disappointed the Don), and Sonny waged a destructive and costly war on the other families, nearly wiping out the Tattaglias, but without Don Vito's skills, he could not manage a complete victory, and he was eventually assassinated on the Jones Beach Causeway . Peaceful Death "I knew that Santino was going to have to go through all this. And Fredo - well... Fredo was well... But I never... I never wanted this for you. I work my whole life, I don't apologize, to take care of my family. And I refused - to be a fool - dancing on the string, held by all those bigshots. I don't apologize, that's my life ,but I thought that when it was your time that you would be the one to hold the strings. Senator Corleone. Governor - Corleone, or something..." ―Vito Corleone to Michael Corleone [src] Vito, counseling Michael.

Vito was summoned back into active service and he surprised the other families when he immediately sued for peace and promised, he would not seek vengeance on the condition that his son Michael be allowed to return home alive and unharmed. He then became semi-retired, acting as a consigliere of sorts to his son Michael. They both plan the destruction of Barzini and his allies, which would be carried out once Vito would die realizing, that Barzini would move against the family after his death with the purpose of conquering it. The two of them surmised that someone in the family would betray Michael in this event by setting up a meeting with Don Emilio Barzini , Vito's main rival and the mastermind behind the Sollozzo scheme. In 1955 , he died of a heart attack, while playing with his grandson, Anthony in his garden. His funeral was attended by members of the Families from across the country, as well as floods of well-wishers. Before he died he transferred nearly all of his political contacts to his son, which would prove to be crucial in the revenge scheme, Michael orchestrated to wipe out Barzini later.

Family ―Vito to Michael Corleone [src] In The Godfather: The Game , Vito first appears receiving Johnny Trapani 's payments from Peter Clemenza on Mott Street. Not long after, Johnny is ambushed in an alleyway by Emilio Barzini . His son Aldo wanders up to the scene, but Vito shields him from the body, promising him that when the time is right, he will take his revenge. Nine years later, at the marriage of his daughter Connie , Vito sends Luca Brasi to rescue Aldo after his mother Serafina expresses worry about him, due to his running with a gang . Soon after Luca's death, Vito is shot by Virgil Sollozzo 's hitmen and is taken to the hospital by Fredo and Aldo. After recovering, Aldo preforms a couple of favors for him. He is present during Aldo's initiation ceremony to become a Made Man . Welcome to the Family "There is nothing more important to a man than his Family... these men too, these men of honour, they are also my Family. La Famiglia Corleone. I now invite you to be reborn as one of us.

You are now one of our qualified men. Gli unomini qualificat. Please, introduce yourself to your brothers." ―Vito Corleone to Aldo Trapani [src] Once he recovers from his wounds, Vito has Aldo inducted into the family as a soldato as well as asking him to perform several favors such as breaking up a strike at the Verona Warehouse . Vito is last seen after the meeting of the Dons following Sonny's death, where he encourages Michael to make Aldo his new caporegime . Personality and traits Vito was known to be very loyal to his friends and allies, but would turn on them if betrayed. He was also a very loving and caring father and husband to his family. Vito was very grief-stricken after Sonny died, knowing that either his civilian son Michael would take the reins, or, as he saw it, his weak son Fredo. Vito was very handy with a gun, and knew how to disperse with one. He was very smart and logical as a mafioso, always knowing when to take a deal or not, and how to go about doing so.

Vito had the foresight of a master chess player, able to predict the ramifications and possible opportunities from seemingly random events years in advance and was known to use reason to solve problems and only use violence as the last possible resort. He was also shown as a great advisor to Michael after he took over. Behind the scenes Vito Corleone is believed to be a composite of Frank Costello , Joe Profaci , Carlo Gambino and Joseph Bonanno . [4] [5] [6] Marlon Brando used audio tapes from the Kefauver hearings to listen to Frank Costello's voice as inspiration to build his portrayal of the character. [7] Costello also had vast political connections and was against the narcotics trade. Joe Profaci was a leading importer of olive oil in the United States and was dubbed "The Olive Oil King". Joe Bonanno was born in a small town in Sicily and went to the United States following the death of his father. He also wanted his son to succeed him as boss of one of the Five Families. Carlo Gambino became the de facto boss of bosses in the 1960s and was known for being low-key and soft spoken.

The assassination attempt on Vito Corleone is inspired by the murder of Frank Scalice , who was shot to death while buying fruit at a vegetable market. [4] [8] Vito Corleone is portrayed by Marlon Brando as an older man, Oreste Baldini as a nine year old and by Robert De Niro when he was in his twenties and thirties. Premiere Magazine listed Vito Corleone as the greatest movie character in history. [9] He was also selected as the 10th greatest movie character by Empire Magazine. [10] In The Godfather: The Game, he was voiced by Doug Abrahams , using Brando's likeness. In the novel Vito flees to America when he is twelve years old, while in The Godfather Part II he flees to America at age nine. In The Godfather , Vito's tombstone lists his birthday as April 29, 1887. In The Godfather Part II this is changed to December 7, 1891.

Vito Corleone has been regarded by many critics and fans alike as one of the top most iconic characters in movie history, in the gangster/crime genre. Mixed with Marlon Brando's superb portrayal (which won him an Academy Award) alongside Vito's cunning personality has made him one of the greatest mafia characters in movie history. He was listed no. 10 in the top 100 greatest characters list by empireonline . Gallery The Godfather, Part II Movie Review (1974) | Roger Ebert Tweet The musical score plays an even greater role in “The Godfather: Part II” than it did in the original film. Nostalgic, mournful, evoking lost eras, it stirs emotions we shouldn’t really feel for this story, and wouldn’t, if the score were more conventional for a crime movie. Why should we regret the passing of a regime built on murder, extortion, bribery, theft and the ruthless will of frightened men? Observe how powerfully Nino Rota ’s music sways our feelings for the brutal events onscreen.

Advertisement At the end of Francis Ford Coppola ’s masterwork “ The Godfather ” (1972), we have seen Michael Corleone ( Al Pacino ) change from a young man who wanted to stand apart from his family to one who did not hesitate to take up the reigns of control. In “Part II” (1974), we see him lose his remaining shreds of morality and become an empty shell, insecure and merciless. If the score evokes pity, it is Michael’s self-pity. In attempting to fill the shoes of his father, Michael has lost sight of those values that made Don Corleone better than he had to be and has become a new godfather every bit as evil as he has to be. If Rota’s score had been energetic and pounding, we might see him as more closely paralleling Tony Montana in a better film, Brian DePalma ’s “ Scarface ” (1983). But the score is sad, and music can often evoke emotion more surely and subtly than story. Consider how deeply we are moved by certain operatic arias that are utter nonsense.

The devolution of Michael Corleone is counterpointed by flashbacks to the youth and young manhood of his father, Vito ( Robert De Niro ). These scenes, taking place in Sicily and old New York, follow the conventional pattern of a young man on the rise and show the Mafia code being burned into the Corleone blood. No false romanticism conceals the necessity of using murder to do business. Such events as Vito’s murder of the minor-league New York godfather have their barbarism somewhat softened as Coppola adopts Vito’s point of view and follows him as he climbs rooftops to ambush the man and successfully escapes. It is a built-in reality that we tend to identify with a film’s POV. Here the murder becomes another rung on Vito’s ladder to success. To be sure, the life of young Vito helps to explain the forming of the adult Don Corleone, and to establish in the film the Sicilian code of omerta. As Michael changes, we see why he feels that he must. He must play the game by its rules. But I am not sure the flashbacks strengthen the film. I would have appreciated separate films about young Vito and the evolution of Michael. Never mind.

What we have are two compelling narratives, two superb lead performances and lasting images. There is even a parallel between the deaths of two elderly dons. Revenge must be obtained. Advertisement Coppola is at the top of his form in both films, and if I disapprove of the morality of the central characters, well, so do we all. We agree people should not kill one another, but that doesn’t explain why these films are seen again and again, entering a small worldwide canon of films just about everyone seems to have seen. They are grippingly written, directed with confidence and artistry, photographed by Gordon Willis (“The Master of Darkness”) in rich, warm, tones. The acting in both films is definitive. We can name the characters in a lot of films (Harry Lime, Scarlett O’Hara, Travis Bickle, Charles Foster Kane) but from how many films do we remember the names of six or more characters? Brando, Pacino, De Niro, Duvall, Cazale, Caan, Diane Keaton , Lee Strasberg , Talia Shire , Michael V. Gazzo and others are well-cast, well-used, gifted and correct for their roles.

Simply as a story, the Michael scenes in “The Godfather: Part II” engage our emotions. I admire the way Coppola and his co-writer Mario Puzo require us to think along with Michael as he handles delicate decisions involving Hyman Roth (Strasberg), the boss of Miami; Fredo (Cazale), his older brother, and the shooting of Sonny ( James Caan ). Who has done what? Why? Michael floats various narratives past various principals, misleading them all, or nearly. It’s like a game of blindfolded chess; he has to envision the moves without seeing them. But finally it is all about Michael. Even the attack on the night of his son’s first communion party is on his bedroom, not our bedroom. His wife, Kay (Keaton), leaves him, and his focus does not waver: He will keep his son. Tom Hagen (Duvall), the most trusted confidant of father and son, considered a brother, is finally even suspected. In Michael’s life, paranoia is a useful defense mechanism. Advertisement Coppola shows Michael breaking down under the pressure. We remember that he was once a proud war hero, a successful college student, building a legitimate lifestyle.

But on their wedding day, Kay first began to fully realize what an all-controlling cocoon the Corleone clan was. There would always be things she could not be told about, could not be trusted with. Finally Michael has no one to tell or trust except his elderly mother ( Morgana King ). Michael’s desperation in that intense conversation explains everything about the film’s final shot. So “Part II” is finally a sad film, a lament for loss, certainly. It is a contrast with the earlier film, in which Don Corleone is seen defending old values against modern hungers. Young Vito was a murderer, too, as we more fully see in the Sicily and New York scenes of Part II. But he had grown wise and diplomatic, and when he dies beside the tomato patch, yes, we feel regret. An age has closed. We feel no regret at Michael’s decline. The crucial difference between the two films is that Vito is sympathetic, and Michael becomes a villain. That is not a criticism but an observation. The “best films” balloting on IMDb.com lacks credibility because popularity is the primary criteria.

But hundreds of thousands do indeed vote, and as I write the top four films, in order, are “ The Shawshank Redemption ,” “The Godfather,” “ The Dark Knight ” and “The Godfather: Part II.” Of all of the reviews I have ever written, my three-star review of “Part II” has stirred the most disagreement. Sometimes it is simply cited as proof of my worthlessness. I’ve been told by many that “Part II” is a rare sequel that is better than the original. Have I changed my mind? No. I have read my review of “Part II” and would not change a word. Advertisement Then why is it a “great movie”? Because it must be seen as a piece with the unqualified greatness of “The Godfather.” The two can hardly be considered apart (“Part III” is another matter). When the characters in a film take on a virtual reality for us, when a character in another film made 30 years later can say “The Godfather” contains all the lessons in life you need to know, when an audience understands why that statement could be made, a film has become a cultural bedrock.

No doubt not all of the gospels are equally “good,” but we would not do without any of them. “The Godfather: Part II” then becomes a film that everyone who values movies at all should see. And as I write this, it can be seen in astonishingly good prints. The “Godfather” trilogy has been painstakingly digitally restored by Robert Harris , a master in his field. I have seen the restored “Godfather” in the new 35mm print and “Part II” in the new Blu-ray DVD. Having first seen both at their world premieres, I would argue that they have never looked better. For films of such visual richness, that is a reason to rejoice. And now I come back to the music. More than ever, I am convinced it is instrumental to the power and emotional effect of the films. I cannot imagine them without their Nino Rota scores. Against all our objective reason, they instruct us how to feel about the films. Now listen very carefully to the first notes as the big car drives into Miami. You will hear an evocative echo of Bernard Hermann’s score for “ Citizen Kane ,” another film about a man who got everything he wanted and then lost it.

Advertisement Note: The newly restored 35mm prints of the first and second parts will be screened at the Music Box, 3733 N. Southport. “Part I” plays today through Oct. 9 (except Monday), and “Part II” plays Oct. 10-16. A Blu-ray set of the trilogy is now available. Popular Blog Posts Robert De Niro vies for the part of mobster Sonny Corleone in failed Godfather audition | Daily Mail Online comments The movie is 1972's The Godfather, and it's the pivotal and bloodthirsty scene where Santino 'Sonny' Corleone is speeding towards the Palm Beach toll booth, so gripped with rage that he does not realise he is driving into an ambush. As machine gun fire rakes Sonny's car and body, the camera tilts up to see the grimacing face of... Robert De Niro? Anyone who has seen the film knows that the hot-headed mobster Sonny is played brilliantly by James Caan - and that De Niro played a young Vito Corleone two years later in the 'prequel' The Godfather Part II.

But it turns out De Niro had also auditioned for the part of Sonny in the first film, directed by Francis Ford Coppola, and had been rejected despite a mesmerising screen test. The now 70-year-old two-time Academy Award winner was not even 30 at the time of the audition, and he was hoping a leading role in a big Hollywood film would launch his career. Back in the day: Robert De Niro's audition for the part of Sonny Corleone in The Godfather has surfaced As it happens, De Niro's break didn't come until he teamed up with Martin Scorsese for 1973's Mean Streets - and he won his first Oscar for Best Supporting Actor the following year as the up-and-coming Corleone family boss Vito in the second instalment of the Godfather trilogy. In the audition tape, a young De Niro is seen wearing a black trilby hat and a buttoned-up grey shirt as he spins around before facing the camera.

With a slightly psychotic smile - of the kind used to great effect four years later in Taxi Driver - De Niro delivers a version of Sonny's famous line: 'That's what you do, you get his brains all over your nice Ivy League suit. You can prove it to me, go ahead and do it.' Magnetic: In the audition tape, a young De Niro is seen wearing a black trilby hat as he spins around lightheartedly before facing the camera Delivering with panache: 'That's what you do, you get his brains all over your nice Ivy League suit,' he says with a cheeky smile Charisma: De Niro's star quality was clear to see as he charmed his way through the audition As some online commentators have noted, De Niro was perhaps considered too young for the role of Sonny. Other well-documented sources point to friction between the studio Paramount and the director - where Coppola's choice of Al Pacino in the lead role of Michael Corleone was only 'allowed' by Paramount if James Caan took the role of Sonny. Caan had originally auditioned for the part of Michael.

Coppola later commented about De Niro's audition, saying: 'He was spectacular, but it was Sonny really like killer, nothing you could ever sell.' Not quite right: De Niro was perhaps too cocky and lighthearted to play the hot-tempered Sonny, ultimately portrayed by James Caan (second from right) De Niro recently admitted he was grateful that he only found fame in his thirties. 'I did Godfather II when I was 31, so I had all my young life before that hit,' he told Parade.com in 2011. 'I see some actors, they’re so young when they start, and that’s okay, but it’s a different experience. 'You've got to handle it because if you don’t handle it, you’re going to blow it and it’s all going to go and then what?

So it’s a good thing to have some kind of foundation and if you’ve had a little obscurity in your life, that’s good.' All worth it: De Niro went on to win an Oscar for his portrayal as the young Vito Corleone in The Godfather Part Two Wise: De Niro recently admitted he was grateful that he only found fame in his thirties, pictured last month in Tokyo

Question: Who played the young version of Vito Corleone in "The Godfather Part II"?
Answer: Robert De Niro