The continuing saga of the Corleone crime family tells the story of a young Vito Corleone growing up in Sicily and in 1910s New York; and follows Michael Corleone in the 1950s as he attempts to expand the family business into Las Vegas, Hollywood and Cuba.Written by
Keith Loh <firstname.lastname@example.org>
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 Pictures, 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. See more »
Around 02:03:57, we see Fanucci blinks just before and just after Vito shoots him in mouth. See more »
The godfather was born Vito Andolini, in the town of Corleone in Sicily. In 1901 his father was murdered for an insult to the local Mafia chieftain. His older brother Paolo swore revenge and disappeared into the hills, leaving Vito, the only male heir, to stand with his mother at the funeral. He was nine years old.
[gunshots and screams]
[subtitled from Italian]
They've killed the boy! They've killed young Paolo! They've killed your son Paolo!
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This is the only Godfather film not to feature a stand-alone title screen against a black background. Instead, the title appears over Michael Corleone's chair after he gets up from it. See more »
The opening credit sequence features additional shots of the Corleone compound. These shots were later used in the beginning of The Godfather: Part III.
The opening credit sequence also features additional shots of Michael sitting alone contemplatively, an alternate take of young Vito waving little Michael's hand on the train in Sicily, and a longer take of Michael looking at Fredo at their mother's wake.
Don Ciccio's henchmen look for the boy Vito at his home. Vito's mother says she will bring him to Ciccio herself.
Don Fanucci tells the theater impresario that he should feature Sicilian songs or opera and then comically sings examples.
After Fanucci leaves, the impresario smacks his daughter for walking in at the wrong time.
Vito sees a group of hoods jump Don Fanucci and slice his neck. This explains the scar on his neck seen later.
Genco tells Vito about the attack on Fanucci and Vito pretends not to know about it.
In the café, Clemenza tells Vito that he will never work a regular job like his father did.
Vito meets Tessio for the first time outside a warehouse with Clemenza. They take the bag of guns inside to a man named Augustino Coppola. He tells his young son, Carmine Coppola, to play the flute as entertainment while he works on the guns. This is a tribute to Francis Ford Coppola's grandfather and father. The men also leave the warehouse with a bunch of dresses.
Clemenza tries to sell a dress to a married woman and ends up having sex with her while Tessio and Vito wait outside.
An additional shot of Vito driving down the street before Fanucci jumps in.
Additional dialogue after Fanucci gets out of Vito's truck.
Additional dialogue when Vito, Clemenza, and Tessio discuss how to handle Fanucci.
An extended version of the scene where Vito first talks to Signor Roberto.
Signor Roberto asks Genco if he can speak with "Don Vito".
Clemenza brings a young Jewish boy named Hyman Suchowsky to see Vito. Clemenza wants to rename him "Johnny Lips", but Vito decides he will be called "Hyman Rothstein" after Jewish gangster Arnold Rothstein.
When Vito returns to Sicily, he kills the two henchmen that looked for him as a boy. One he finds passed out in a hut and stabs, the other he rows up to on a lake and kills with an oar.
A wide shot of the train leaving the station in Sicily.
A quick shot of people waltzing at Anthony's communion party.
A quick shot of the bandleader looking at the dancers as he is conducting.
A man taking home movies of Tom and his family.
Fredo shows up late to Anthony's communion party because his wife, Deana, is drunk. She runs up the driveway demanding to see Michael, then falls down and knocks down Fredo when he tries to pick her up. Fredo warns her not to embarrass him.
A thirsty Pentangeli tries to get a beer or wine at the communion party, but all the waiters have are champagne cocktails. This explains why he is seen drinking from a garden hose.
At the party, Sonny's widow, Sandra, brings their daughter Francesca and her fiancé, Gardner, to see Michael. Fredo barges in to tell Michael that Pentangeli is outside. Michael gives Francesca and Gardner his blessing to get married. She sees Kay and tells her the good news.
Al Neri tells Michael that he's tracked down Fabrizio, the man who murdered Michael's first wife, Apollonia. He now runs a pizza parlor in New York and is living under the name "Fred Vincent". He was brought to New York by Barzini.
A shot of four opera singers performing at the party.
A quick shot of Rocco berating one of his men.
Anthony runs towards the area where the buttonmen are sitting and Kay chases after him, warning him to stay away. She then grabs and hugs Anthony.
Pentangeli sits with Anthony and drinks a full glass of wine in one gulp. Then, he gives Anthony a $100 bill.
Al Neri goes to a casino and fires Klingman on orders of Michael. When Klingman won't leave, Neri smacks him, chases him into a rehearsal of a stage show and threatens him with a chair. Klingman agrees to leave, then Neri tells the performers to continue the rehearsal which he stays and watches.
Fabrizio gets into his car outside his pizza parlor. He turns the ignition, and the car explodes. He falls out of the car and crawls around a bit before he dies.
The final scene is Kay in a Catholic church lighting candles and praying.
Pop Goes the Weasel
Traditional English nursery rhyme (first published 1855) See more »
To call it a sequel is a travesty
This movie is way to be good to be labelled a sequel to The Godfather . Rather it is more of a companion piece to the original and the two perfectly compliment each other . IT is both a sequel and prequel showing the rise of the young vito and moral decline of Micheal . Both characters are brought to life with uncanny ability by Robert DeNiro and Al Pacino . To say that these two are good actors is like saying that a nuclear bomb makes a loud noise and in this movie they prove why they are at the top of their respective crafts .
Al Pacino is the standout in the ensemble cast and its amazing how his eyes have changed from the first part . They are now cold , ruthless and unemotional and betray the price which Micheal Corleone has paid for power .
Watch this movie and learn why it is the greatest gangster film of all time.
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