Marlon Brando and Robert De Niro are the only two actors to ever win separate Oscars for playing the same character. Brando won Best Actor for The Godfather (1972) and De Niro won Best Supporting Actor for this movie, both in the role of Vito Corleone.
Originally, the actors in the flashback scenes wore pants with zippers. One of the musicians pointed out that the zipper had not been invented at that time, so some scenes had to be re-shot with button-fly trousers.
Francis Ford Coppola had a horrible time directing The Godfather (1972) and asked to pick a different director for the sequel, while taking the title of producer for himself. He chose Martin Scorsese, whom the film executives rejected. Thus, Coppola agreed to direct the film, with a few conditions.
Though it claims to be based on the novel by Mario Puzo, only the scenes about the young Vito Corleone (Robert De Niro) have any basis in the book. Only one chapter in the book is devoted to Vito's youth and young adulthood. The story revolving around Michael (Al Pacino) and family in Las Vegas is entirely unique to the film.
In the scene in which young Vito negotiates with Signor Roberto on the street, a passerby interrupts to say hello to Vito. Carmelo Russo was an extra who was supposed to just walk by but he improvised speaking to Vito. Francis Ford Coppola did not like that Russo interrupted the scene. But Robert De Niro liked that it showed how much people in the neighborhood respected Vito and he convinced Coppola to keep Russo's line.
Danny Aiello's line, "Michael Corleone says hello", was completely ad-libbed. Francis Ford Coppola loved it and asked him to do it again in the retakes. Aiello later claimed (on Gilbert Gottfried's podcast) that, due to being nervous about working with Coppola, he didn't hear himself when he said the line and, to this day, has no idea why he said it.
Francis Ford Coppola considered bringing Marlon Brando back to play Vito Corleone as a young man, convinced that he could play at any age. As he worked on the script, though, he remembered Robert De Niro's exceptional audition for The Godfather (1972) and cast him without offering the part to Brando.
There was much debate over whether Robert De Niro should grow a mustache for the scenes where young Vito is a few years older but De Niro couldn't decide. In the end, De Niro tossed a coin. For the scenes where Vito returns to Sicily, he even gained weight and wore a smaller version of the dental appliance Marlon Brando wore in the first film.
Marlon Brando was scheduled to return for a cameo in the flashback at the end of the film but, because of the way Paramount treated him during The Godfather (1972), he did not show up for shooting on the day the scene was filmed. Francis Ford Coppola re-wrote the scene without Vito and it was filmed the next day.
Hyman Roth's character is loosely based on real-life mobster Meyer Lansky. Lansky, who at the time of the film's release was living in Miami, reportedly phoned Lee Strasberg and said, "Now, why couldn't you have made me more sympathetic? After all, I am a grandfather."
According to Francis Ford Coppola in the DVD commentary, Michael V. Gazzo gave such a great performance as Frankie Pentangeli in the rehearsal of his testimony scene that Coppola wanted to start filming it immediately but everyone had to break for lunch. During the break, Gazzo got drunk and was unable to perform as well as he had in rehearsal.
The door to Vito's olive oil business was rigged so that it would not open if a nail was inserted into the lock. Coppola kept this a secret from Leopoldo Trieste, who played Signor Roberto, and his difficulty in opening the door was real. Coppola wanted to film Trieste, a known Italian comedian, improvising his way through the scene. When Genco opens the door, Frank Sivero surreptitiously pulls the nail out.
In an early version of the script, an ongoing story line was Tom Hagen having an affair with Sonny Corleone's widow. This was later discarded, but the line where Michael Corleone tells Hagen that he can take his "wife, children and mistress to Las Vegas" was kept.
Originally, it was supposed to be Clemenza who agrees to testify against the Corleones. According to Francis Ford Coppola, Richard S. Castellano (who was the highest paid actor in The Godfather (1972)) wanted to write his own lines and wanted a large salary increase. Consequently, his character was replaced by Frankie Pentangeli (Michael V. Gazzo), who received an Oscar nomination for the performance. But according to Ardell Sheridan, Castellano refused to regain the 50 pounds required to for the role due to health reasons, so Coppola decided to replace him rather than have a thinner Clemenza.
Francis Ford Coppola, having nearly been fired several times from the first film, was given a Mercedes-Benz limousine from Paramount as a reward for the record success of The Godfather (1972) and an incentive to direct a sequel. He agreed on several conditions - that the sequel be interconnected with the first film with the intention of later showing them together; that he be allowed to direct his own script of The Conversation (1974); that he be allowed to direct a production for the San Francisco Opera; and that he be allowed to write the screenplay for The Great Gatsby (1974) - all prior to production of the sequel for a Christmas 1974 release.
Although Nino Rota's score for The Godfather (1972) was withdrawn from an Oscar nomination because he reused the same theme from his previous score for Fortunella (1958), he was still awarded the Oscar for Best Original Score for the sequel, even though it used the same love theme from the first film.
A test screening of the film garnered negative reactions from the audience. They found cutting back and forth between Michael and young Vito confusing and bothersome. Francis Ford Coppola and his editors decided to decrease the frequency of the transitions in order to make the parallel stories easier to follow.
Al Pacino caused problems throughout production, demanding a massive salary and heavy script rewrites. He frequently complained about Francis Ford Coppola's slow pace, yelling "Serpico (1973) only took nineteen days!" and threatened to quit.
Francis Ford Coppola and Mario Puzo won the Oscar for Best Adapted Screenplay even though half of the script was adapted and half was original. The story of Michael Corleone is original, while the story of the young Vito Corleone came from The Godfather (1972) novel but was not used in the first film.
Francis Ford Coppola originally wanted fellow director Elia Kazan to play Hyman Roth, but Kazan passed on the opportunity. On the DVD commentary track, Coppola detailed how he visited Kazan with the request, and remembered that Kazan was bare-chested. As an homage, Roth (Lee Strasberg) is bare-chested when Michael Corleone visits him.
The plot thread with Sen. Geary is a direct reference to The Godfather (1972), when Vito laments that he wanted Michael to be a "big shot" who "pulled the strings." In particular, he had hoped Michael would become a Senator. Michael assured him, "We'll get there, Pop." At the opening of this film, we see Michael explicitly rebuffing the demands of a US Senator, turning the tables by making demands of his own.
While the word "mafia" is never spoken in The Godfather (1972), it is heard three times in this film, during the Senate hearings. Sen. Geary says, "These hearings on the Mafia..." The committee Chairman says, "You are the head of the most powerful Mafia family in this country." Michael Corleone in his statement says, "Whether it is called 'Mafia' or 'Cosa Nostra' or whatever other name you wish... "
Robert De Niro became the only actor to win an Oscar for taking over another actor's Oscar-winning performance. He was not, however, the first or last such actor to be nominated for this. Gérard Depardieu was nominated for Best Actor in Cyrano de Bergerac (1990), a role that had already won an Oscar for José Ferrer. Like Brando, Ferrer had played his role in English. Like DeNiro, Depardieu played the role in the character's native language; in this case French. Years later, Jeff Bridges would be nominated for his performance in True Grit (1969). John Wayne had won his only Oscar for his performance in the original film, which also featured Robert Duvall.
The paper currency that Vito hands to Signor Roberto is historically accurate. The bills used are series 1914 large size $10 Federal Reserve Notes. Large size notes measure 7-3/8 by 3-1/8 inches compared to the small note, printed from 1928 to the present, measuring 6-1/8 by 2-5/8 inches.
The golden telephone presented to Cuban dictator Fulgencio Batista is based on an actual event. You can see the actual gold-plated (not solid gold) telephone in Havana's Museum of the Revolution (formerly Batista's presidential palace). The replica made for the movie looks pretty much like the original. No reference to the film is made in the information card of the telephone on display.
This was the first film sequel to receive five Academy Award Nominations for acting. Talia Shire (Best Actress In A Suporting Role), Lee Strasberg (Best Actor In A Supporting Role), Michael V. Gazzo (Best Actor In A Supporting Role) and Al Pacino (Best Actor) all received nominations, while Robert De Niro took home the Oscar for Best Actor In A Supporting Role.
In his DVD commentary, Francis Ford Coppola claimed The Godfather: Part II (1974) was the first numbered sequel in film history. In actual fact, the British film Enemy from Space (1957) was the first (released 17 years earlier). The Godfather Part II is the first US film sequel to use such numbering though.
Timothy Carey, who had turned down the offer to play Luca Brasi in the original, was offered the role of Don Fanucci in this film. While performing his audition at Paramount Studios in which Francis Ford Coppola and Martin Scorsese were present, Carey pulled a prop gun loaded with blanks out of a pastry box he had with him, and fired a shot at Coppola, before pretending to commit suicide. Reports differ as to whether Coppola immediately offered Carey the role, or whether Carey was removed by security. In addition, the actor made several monetary demands that caused him to be passed over.
According to the chart shown during the hearings, the Corleone family's buttonmen/soldiers are: Luca Brasi (deceased), Chris Pennari alias 'The Manager', Donato Tolentinicci, Gaetano De Luna alias 'Gary Dee', Roberto Nelenza alias 'Thunder Bob', William Cicci, Pauli Gato [sic] (deceased), Nino Arneldi alias 'The Patch', Victor Vinatonni alias 'Vicky Veal', Calogero Radeni, Rafilo Gernzo, Carmine Caronda alias 'The Plunge', Francis Forducci alias 'The Kid', Ricardo Simmini alias 'Powder', Frank Corteale, Ettore Radeni alias 'Oily Hand', Salvatore Plumari alias 'Sally Pee', Samuel Corocco, Angelo Granelli alias 'The Trojan' (in jail), Gino Corsetta (in jail), Bartolo Neni alias 'O'Neal' (in jail), Joeseph Bronski alias 'Joey Jail' (deceased), Natale Parri alias 'Fat Nat', Alphonse Barino alias 'Al Barret', Gino Fredonna alias 'Pretty Boy' (deceased), Sabastino Sabela (in jail), Lawrence Tippirri, Gaetano Sirillo, Tony Dinegio alias 'Tony Ding', Carmen Della, Frank Darra alias 'Frankie Dare' (in jail), Alphonse Evolloni alias 'Al Ove' (deceased), Peter Leone alias 'The Lion' (in jail), Cassandros Fracca alias 'David Gelly', Charles Locirno (deceased), Cristoforo D'Binna
The orchestra that plays in the band shell during the party scene at Lake Tahoe was actually the Al Tronti Orchestra that played nightly for big names like Elvis Presley and Tom Jones at the Sahara Tahoe Casino/Hotel on the South Shore of Lake Tahoe while this film was being shot. Al Tronti himself sits in the orchestra in the front room (only seen in shadow). He wasn't allowed to appear as the orchestra conductor since he looked "too Italian" and the orchestra in the movie was supposed to be a West Coast group that not able to play any traditional Italian music.
This was the last film printed in the US in the classic "imbibition" Technicolor dye-transfer process, which produced better color accuracy and longevity than color print films of the time. The British and Italian lines were not shut down until a few years later. The British equipment was purchased by the Beijing Film and Video Lab in 1978 and used to print Chinese color films until the early 1990s.
Francis Ford Coppola's rough cut ran almost six hours in length. Vito's storyline extended into the Prohibition Era, including a gang war with Al Capone and Luca Brasi's exploits as Vito's hatchet man. Michael's story continued, gaining political influence in 1960s Washington through his connections with Senator Geary (implying a role in the Kennedy assassination, among other things). Little of this footage survived, aside from the handful of deleted scenes used in The Godfather: A Novel for Television (1977), and one or two stills showing Robert De Niro as middle-aged Vito. Many of the ideas were recycled for Mark Winegardner's sequel novels and the putative scripts for Part IV.
Production nearly ended before it began when Al Pacino's lawyers told Francis Ford Coppola that he had grave misgivings with the script and was not coming. Coppola spent an entire night rewriting it before giving it to Pacino for his review. Pacino approved and the production went forward.
Don Fanucci says that, in order to show proper respect to him, Vito and his friends should allow him to "wet his beak a little", by giving him a share of their profits. This is Sicilian slang, meaning "to get a piece of the pie", a common expression often used to indicate the extortion activities committed by mafia members.
Just as in the first film (and in the novel), there are elements of the story based on the lives of New York gangster "Crazy" Joe Gallo and his brothers. In this film, when Frank Pantangelli is ambushed in the bar and nearly garroted by the Rosato brothers, that incident was based on an attack by Carmine "the Snake" Persico against Crazy Joe's brother, Larry Gallo. As in the film, Larry was lured to the bar for a "sit down" meeting with Persico, who was his friend. Larry was then garroted by members of the Profaci Crime Family, with whom the Gallos and Persico were a part of, in retaliation for Crazy Joe trying to instigate a mutiny within the family. Also as in the film, Larry Gallo was saved by a policeman who wandered into the bar, thus stopping the execution.
Unlike with the first film, Francis Ford Coppola was given near-complete control over production. In his commentary, he said this resulted in a shoot that ran very smoothly despite multiple locations and two narratives running parallel within one film.
The Lake Tahoe house and grounds portrayed in the film are Fleur du Lac, the summer estate of Henry J. Kaiser on the California side of the lake. The only structures used in the movie that still remain are the complex of old native stone boathouses with their wrought iron gates. Although Fleur du Lac is private property and no one is allowed ashore there, the boathouses and multimillion-dollar condominiums may be viewed from the lake.
In a scene set in 1960, Tom Hagen says that nobody could kill the President of the United States and Michael Corleone replies that anyone could be killed. Of course three years later, President John F. Kennedy was killed and there are some theories that the Mafia was involved in the assassination.
The first of many Robert De Niro movies running three hours or more in length not counting deleted scenes or almost three hours. His other movies are 1900 (1976), The Deer Hunter (1978), Once Upon a Time in America (1984) and Casino (1995).
The trivia items below may give away important plot points.
Originally, Kay was to truly have a miscarriage. It was Talia Shire's idea that she would have an abortion instead, as the ultimate way to hurt Michael. To thank her for this idea, Francis Ford Coppola wrote in the scene in which she tearfully asks Michael to forgive Fredo.
According to the script, the movie's last shot in the film centering on Michael as he gazes at the lake occurs in 1968. That accounts for Al Pacino's additional wrinkles and slightly receded and graying hairline. It was actually the concluding aspect of a scene with his son, Anthony, who declares he will not follow in his father's footsteps. Anthony was portrayed by an actor about 18 years old; the scene was half filmed, but Francis Ford Coppola lost the light before wrapping for the day and was unable to return to complete the scene.
As the "deceased" Mama Corleone, Morgana King only appeared in the coffin for the establishing shot where her face is clearly visible. In all other shots, Coppola's mother, Italia Coppola, stood in for Ms. King since she (King) initially refused to be in the coffin at all.
The shooting script included a scene with an older, diabetic Michael talking with an 18-year-old Anthony but this scene was cut. The discarded scene also included Connie saying that Fredo drowned in the lake. These ideas were eventually used in The Godfather: Part III (1990).
The presence of oranges in all three "Godfather" movies indicates that a death or an assassination attempt will soon happen. The Senator is framed for murder after playing with oranges at the Corleone house, and Johnny Ola brings an orange into Michael's office before the attempt on Michael's life. Fanucci eats an orange just before he is gunned down and Michael is eating an orange while plotting to kill Roth. However, after the young Vito Coreleone buys oranges from a street vendor, no immediately related death occurs.
Frankie Pantangelli, who was originally written to be Clemenza, dies by slitting his wrists in a bathtub. Fittingly, in Clemenza's first appearance in this film, he asks Vito to hide stolen guns in a bathtub.