Zabriskie Point

Directed and co-edited by Michelangelo Antonioni and screenplay by Antonioni, Franco Rossetti (as Fred Gardner), Tonino Guerra, Clare Peploe, and Sam Shepard from a story by Antonioni, Zabriskie Point is the story of a college dropout whose presence at a student protest has him go on the run to the Zabriskie Point desert where he meets a young woman on the way. Set against the American counterculture of the 1960s, the film is an exploration of identity and ideals as a young man and woman deal with their surroundings during a tumultuous period toward the end of the 1960s. Starring Mark Frechette, Daria Halprin, and Rod Taylor. Zabriskie Point is a ravishing yet eerie film from Michelangelo Antonioni.

The film is a stylish and poetic telling about two different people who both go on different journeys where they meet on their way to their respective destinations as they visit Zabriskie Point near Death Valley. It’s a film that doesn’t really have much of a plot yet it is more about two people who are part of two different environments as they become overwhelmed by those surroundings. The film’s screenplay is very loose as it play into not just the world of the American counterculture as it becomes more desperate to fight back and go into revolutionary tactics but also the corporate world as it becomes more prominent in its rise while the counterculture is in the decline. The two protagonists in a college dropout named Mark (Mark Frechette) and an anthropology student named Daria (Daria Halprin) are both people part of different kind of scenes but it’s the former that has become dissatisfied.

The opening scene is set in a meeting where Mark realizes all of this talking about what to do has made him bored as he tries to make sense of what is going on. Especially when people he know are going to jail in protests and such while he is aware of what is emerging outside of the counterculture. When he finds himself in part of a scuffle with police as it goes all wrong, he escapes by stealing a small plane and fly around California. The character of Daria is more complex as she’s just a student who works part-time as a secretary for a corporate businessman (Rod Taylor) who is planning to create housing in some remote land in the American Southwest. Daria would drive to Phoenix as she would encounter strange things in her journey until she is met by Mark on his plane as the two would meet as the film then takes a different turn once they venture into the mysterious valley known as Zabriskie Point.

Michelangelo Antonioni’s direction is definitely mesmerizing not just visually but also in the way he aims for something that is unconventional in its American setting. Shot largely on location in Los Angeles and around Carefree, Arizona with scenes shot on location in Zabriskie Point, the film play into not just this sense of chaos that is looming into the counterculture where non-violent protests have given way to violence on both sides. Antonioni’s direction for these meetings and protests are presented in a somewhat documentary-like fashion as it display Mark’s own sense of alienation as he is aware of desperate the counterculture has become but also know what is emerging. Antonioni’s visual approach to display this emergence of capitalism and materialism through ads including a commercial about a real estate venture in the desert is very eerie as it relates to what would happen in American culture. Antonioni would often have ads in the background whereas a character such as Mark would be in the foreground. For Mark, it is overwhelming as his attempt to take part in a protest after being arrested for trying to bail out a friend gets him into trouble where he would steal a plane and fly around the American Southwest. Antonioni’s usage of wide shots allow him to take a great depth of field to showcase the Zabriskie Point valley at its most vast as it is centerpiece of the film’s second half.

Especially as it play into elements of fantasy of what Mark and Daria want in their idea of free love where it’s all about not worrying about the realities of the world. It is a sequence that is quite surreal but also contain some gorgeous imagery where Antonioni’s usage of close-ups, medium shots, and wide shots add so much to something that feels lose and free. Antonioni would include also include moments that are strange as it relates to the reality of America that Daria from her encounter with children at a town to eventually arriving at her destination. The latter which serves as its climax is set in this very quaint and posh environment that is beautiful but it’s also very suffocating. It would lead to an ending that is about that disdain of the growing sense of materialism and capitalism that would dominate the ideas of America. Overall, Antonioni creates an intoxicating yet startling portrait of alienation and the emergence of a more controlled and consumerist society in the waning days of the counterculture.

Cinematographer Alfio Contini does brilliant work with the film‘s very vibrant and colorful cinematography to capture some of the locations in and around Los Angeles to the look of the desert with its naturalistic and beautiful imagery as it is a major highlight of the film. Editors Michelangelo Antonioni and Franco Arcalli do excellent work with the editing with its usage of jump-cuts and some stylish montages for the free-love sequence while aiming for moments that go on for a few minutes without the need to cut immediately. Production designer Dean Tavoularis and set decorator George R. Nelson do amazing work with the look of the posh resort home at the film‘s climax as well as the design of the offices and the diner that Darla goes to.

Costume designer Ray Summers does nice work with the costumes as it mostly casual with bits of stylish clothing that play into the world of the counterculture and Corporate America. Sound recording supervisor Franklin Milton does superb work with the sound as it play into the way the plane sounds in the air as well as the chaos in the protests and in city life to the more quiet world of Zabriskie Point. The film’s music soundtrack is incredible as it feature some original score music from Pink Floyd with its usage of progressive and post-psychedelic rock to the Americana-based rock of the Grateful Dead with a piece by Jerry Garcia. The rest of the soundtrack includes pieces from John Fahey, Kaleidoscope, the Youngbloods, the Rolling Stones, Patti Page, and Roscoe Holcomb that is a mixture of rock and country while the American release version of the film features a song by Roy Orbison that is an odd placement for the film‘s final credits as it was something MGM put in against Antonioni‘s wishes though the song is great but doesn‘t fit in with the context of the film.

The casting by Sally Dennison is fantastic as it features appearances from Harrison Ford as a student in jail, Philip Baker Hall as a deli owner, Bill Hickman as a gun store owner, Bill Garaway as Mark’s friend Morty, Paul Fix as a diner owner, Kathleen Cleaver as a secretary, G.D. Spradlin as an executive, Sam Shepard as one of the people in the free-love sequence, and Rod Taylor as Daria’s boss/possible lover Lee Allen who is trying to put some housing in the desert as he thinks it is the future of American living. Finally, there’s the duo of Daria Halprin and Mark Frechette in their respective roles as Daria and Mark as two individuals lost in their world as both of them are excellent as they’re not given much to do but be natural and react to the chaos their surroundings.

Zabriskie Point is a phenomenal film from Michelangelo Antonioni. Featuring dazzling visuals, a sprawling soundtrack, and eerie themes on alienation and changing times. It’s a film that is definitely confrontational in some respects but also tell a lot of truth about what would emerge in the aftermath of the counterculture and the fallacies of revolutions that was so prevalent in the 1960s. In the end, Zabriskie Point is a tremendous film from Michelangelo Antonioni.

Michelangelo Antonioni Films: (Story of a Love Affair) - (I Vinti) - (The Lady Without Camelias) - Le Amiche - (Il Grido) - L'Avventura - La Notte - L'eclisse - Red Desert - Blow-Up - (Chung Kuo, Cina) - The Passenger - (The Mystery of Oberwald) - Identification of a Woman - (Beyond the Clouds) - Eros: The Dangerous Thread of Things

© thevoid99 2017

Ed Wood

Based on the biography Nightmare of Ecstasy by Rudolph Grey, Ed Wood is the story about one of cinema’s worst filmmakers as he struggles to find success through his offbeat yet cheaply-made films while forging a friendship with his idol in film actor Bela Lugosi. Directed by Tim Burton and screenplay by Scott Alexander and Larry Karaszewski, the film explores a period in Wood’s life where he tries to succeed through film that would culminate with the release of his most infamous film in Plan 9 from Outer Space as the titular role is played by Johnny Depp while Martin Landau plays the role of Bela Lugosi. Also starring Sarah Jessica Parker, Patricia Arquette, George “The Animal” Steele, Lisa Marie, Jeffrey Jones, and Bill Murray. Ed Wood is a witty and enchanting film from Tim Burton.

The film explores the life of a young artist named Edward D. Wood Jr. as he is eager to become a filmmaker like his favorite director Orson Welles where he later meets his idol in Bela Lugosi who would take part in Wood’s films. The film explores Wood’s life from the early 1950s where he is trying to get his film career off the ground and climax with him making Plan 9 from Outer Space which he became very famous for but for all the wrong reasons. Along the way, Wood struggles through personal relationships that fall apart as well as trying to get funding for his films like Glen or Glenda and Bride of the Monster where they would be reviled by critics and audiences. Yet, Wood has this optimism that is so compelling in his belief that he will become a great filmmaker while helping out the man he worshipped in Lugosi who is struggling with his own addiction to morphine.

The film’s screenplay is quite straightforward in its narrative but also filled with lots of humor in the way Wood often tries to succeed with his pals and his girlfriend Dolores Fuller (Sarah Jessica Parker) early in his career. Wood’s meeting and friendship with Lugosi is the heart of the story where Wood hopes to revive Lugosi’s career by putting him in his films despite everyone’s claims that he is washed up. However, Lugosi feels revitalized despite his issues where Wood would receive the support from a young woman in Kathy O’Hara (Patricia Arquette). Other aspects of the film includes Wood’s love of transvestite as he likes to wear women’s clothing which made him want to take part in a film version about the Christine Jorgensen story which he convinces a producer to create his own version of the story that would become Glen or Glenda. The script also explores the group of friends that Wood has where they’re a group of eccentric people as it’s this band of misfits trying to make a name for themselves.

Tim Burton’s direction is definitely a homage of sorts to the works of Ed Wood as well as being this film that plays into Wood’s attempt to find success as a filmmaker. Burton showcases a lot of what goes in the world of film where Wood had to use limited resources and such in order to make his films where his limitations and lack of funds often contribute to the poor quality of his films. Most of which is played for laughs but Burton is very sympathetic to Wood’s determination as he believes he is trying to make something good. Much of the direction has Burton go for simple compositions while giving the film a very old-school feel that recalls the period of the 1950s as it’s shot on location in Los Angeles. Burton’s approach to recreating some of Wood’s films do play into its low-budget aesthetics as well as wooden and terrible acting which adds the sense of joy into the film. Even in the scenes involving Wood and Lugosi where it’s humorous but also full of heart as it showcases how important their friendship is. Overall, Burton creates a very heartwarming and very funny film about the film career of Ed Wood and his friendship with Bela Lugosi.

Cinematographer Stefan Czapsky does brilliant work with the film‘s black-and-white photography to give the film a very old-school look to play into the period of the 1950s with some unique lighting schemes for some of its interiors and shots in its nighttime scenes. Editor Chris Lebenzon does excellent work in creating a straightforward style for most of the film including some stylish dissolves to play into Wood‘s own enthusiasm as a filmmaker. Production designer Tom Duffield, with set decorator Cricket Rowland and art director Okowita, does fantastic work with the set pieces from the set design of some of Wood‘s films which were quite terrible to the scary mansion ride where Wood and Kathy would have their first date at. Costume designer Colleen Atwood does amazing work with the clothes from some of the women‘s clothes and angora sweater that Wood would wear as well as the clothes of the other characters to play into their eccentricities.

Makeup designers Rick Baker, Ve Neill, and Yolanda Toussieng do superb work with the makeup from the look of some of the characters as well as Bela Lugosi as this old man often forced to live in the past. Visual effects supervisor Paul Boyington does nice work with some of the visual effects to play into the cheesy low-budget aesthetics of Wood‘s films. Sound editor John Nutt does terrific work with the film‘s sound from some of recreation of sound effects to the sounds that goes on in some of the film‘s locations. The film’s music by Howard Shore is wonderful for its orchestral score that features some lush string arrangements in its dramatic moments plus some light-hearted pieces in its comical scenes.

The casting by Victoria Thomas is great as it features some notable small roles from G.D. Spradlin as a preacher who would fund Plan 9, Ned Bellamy as Kathy’s chiropractor who would fill in for Lugosi in Plan 9, Max Casella and Brent Hinkley as two of Wood’s friends in their respective roles as notoriously bad actors Paul Marco and Conrad Brooks, the real Conrad Brooks as a bartender, Mike Starr as the exploitation film producer George Weiss who is reluctant to work with Wood, Juliet Landau as the actress Loretta King whom Wood mistakes an heiress as she would be a cause into Wood’s split with Dolores, and Vincent D’Onofrio as Orson Welles whom Wood would meet late in the film. Other noteworthy small roles include Lisa Marie who is wonderful as the TV host Vampira whom Lugosi likes as she would later work with Wood, George “The Animal” Steele in a terrific performance as the wrestler Tor Johnson, and Jeffrey Jones in a superb performance as the TV psychic entertainer Criswell who helps Wood get funding despite being wrong very often with his predictions.

Sarah Jessica Parker is excellent as Wood’s girlfriend Dolores Fuller who is often supportive but becomes frustrated by his lack of success as well as being a transvestite. Patricia Arquette is fantastic as Wood’s future wife Kathy O’Hara who not only accepts Wood for who he is but proves to be one of his biggest supporters. Bill Murray is hilarious as Wood’s openly-gay friend Bunny Breckenridge who often finds transvestites for Wood’s films as well as appear in them. Martin Landau is incredible as Bela Lugosi as he brings in a lot of energy into the role as well as being very foul-mouthed over Boris Karloff while trying to regain some attention as it’s Landau at his best. Finally, there’s Johnny Depp in a remarkable performance as the titular character as this very upbeat man who is eager to succeed while being a weirdo who likes to wear ladies’ clothing as it’s Depp in one of his quintessential performances.

Ed Wood is a phenomenal film from Tim Burton that features a great performance from Johnny Depp as the titular character as well as Martin Landau in an amazing performance as Bela Lugosi. The film isn’t just one of Burton’s best films but also a captivating story of a filmmaker trying to make it despite his lack of talent as it is a love letter to Wood but also a heartfelt story about Wood’s friendship with Lugosi. In the end, Ed Wood is a sensational film from Tim Burton.

Tim Burton Films: (Pee-Wee’s Big Adventure) - Beetlejuice - Batman - (Edward Scissorhands) - Batman Returns - (Mars Attacks!) - (Sleepy Hollow) - (Planet of the Apes (2001 film)) - (Big Fish) - (Charlie & the Chocolate Factory) - (Corpse Bride) - (Sweeney Todd: The Demon Barber of Fleet Street) - (Alice in Wonderland (2010 film)) - (Dark Shadows) - (Frankenweenie) - (Big Eyes) - (Miss Peregrine's Home for Peculiar Children) - (Dumbo (2019 film)) - Beetlejuice Beetlejuice

© thevoid99 2014

The Godfather, Part II

Originally Written & Posted at Epinions.com on 4/6/06 w/ Extensive Revisions & a New Conclusion.

For many movies, especially franchises. Sequels are often done to either cash in on a previous film's success or in continuation with a story. Yet there are some sequels that are even better than the original film in terms of its storyline and character development. One such film that had a rare sequel that didn't just surpass the original film on some levels but also equate the film in terms of its theme and approach to storytelling. That film was 1972's The Godfather based on Mario Puzo's novel and in 1974, came a spectacular sequel that told the rise of a man turned mob figure and the dark descent of his successor simply titled The Godfather, Part II.

Again based on the novel by Mario Puzo, The Godfather, Part II tells two different story. One being Don Corleone's arrival to America as a child after being on the run from mob figures in Sicily where later on, he rose to power as a mob figure of his own while balancing his work life with his devotion to his family. The other story picks up where the last film took off as Don Corleone's successor and youngest son Michael takes over the family business and moves them to Las Vegas where he loses sight of what his father's values and insightful tactics towards business. Directing the film for this sequel is Francis Ford Coppola, who also directed and co-wrote the first film. Teaming with Puzo again for the script. In their approach, the theme again is family where the story moves back and forth in time from how Don Corleone takes care of his family and the people around him and how Michael Corleone corrupts himself into destroying everything around him.

Returning to the fold from the first one are Al Pacino, Diane Keaton, Talia Shire, Robert Duvall, and John Cazale along with flashback cameos from James Caan, Gianni Russo, and Abe Vigoda. Also in the film are Dominic Chianese, G.D. Spradlin, Bruno Kirby, Gastone Moschin, Michael Vincente Gazzo, Joe Spinell, Mario Cotone, Lee Strasberg, and Robert de Niro as the young Don Corleone. The Godfather, Part II is a sprawling, heartbreaking epic drama that in undoubtably one of the finest films of American cinema.

It's the early 1900s as a young mute boy named Vito Andolini (Oreste Baldini) is at the funeral for his father in Corleone, Sicily.  When a revenge attempt on the town's don Francesco Ciccio (Guiseppe Sillato) has failed as well as an attempt to spare Vito's life by his mother (Maria Carta).  Vito secretly flees on a ship to America where he's re-named Vito Corleone.  Some years later in New York City, Vito Corleone is a family man with a wife (Francesca de Sapio) and young boys at the time.  Yet, he has issues with the way people are treated by the town's Don Fanucci (Gastone Moschin) who forced Vito's grocery boss to fire him.  After befriending a man named Clemenza (Bruno Kirby), they join forces as they also take in another young man named Tessio (John Aprea) to stand up against Fanucci.

After defeating Fanucci, Vito Corleone becomes a mob leader of his own but with more compassion as he helps the little people of Little Italy.  With their olive oil business being their front and becoming a success, it was a chance for Vito to return to Sicily to settle some business.

In the 1950s, Vito Corleone's grandson Anthony Corleone (James Gounaris) is taking his first communion in front of his parents, Michael Corleone (Al Pacino) and Kay Adams (Diane Keaton). A party happens in their lake home near Las Vegas where Michael and his family are celebrating with his sister Connie (Talia Shire) and her new husband Merle Johnson (Troy Donahue), his older brother Fredo (John Cazale) with his wife Deanna (Marianna Hill), and their mother (Morgana King).  Also in attendance are Senator Pat Geary (G.D. Spradlin), Johnny Ola (Dominic Chianese), and an old friend named Frank Pentageli (Michael Vincente Gazzo) as they came to discuss some business with Michael.  Though Michael's business dealings bring discomfort to Kay, it doesn't dampen the night.

Later that night, an attack occurred at the home of the Corleones where Michael and Kay were nearly killed.  Realizing he's a possible target for another mob boss in Hyman Roth (Lee Strasberg), Michael turns to family friend and former consigliere Tom Hagen (Robert Duvall) to be in charge with Rocco Lampone (Tom Rosqui) and Al Neri (Richard Bright) as assistants.  Michael goes to Miami with Busatta (Amerigo Tot) to meet with Roth, who had an old business relationship with Vito.  The meeting has Michael suspecting Pentageli who has his own issues with the Rosato brothers (Carmine Caridi and Danny Aiello) as a meeting with them almost became fatal until he's saved by Willie Cicci (Joe Spinell).  Back in Las Vegas, Hagen is called Fredo's brothel place where he finds Geary in trouble as Hagen offers to help.

Michael joins Roth to Cuba for some business only to have second thoughts about the ongoing Cuban Revolution.  Michael calls Fredo to help as he reveals that Roth was the one who assassinated him.  He plans revenge on the ailing Roth by getting Busatta to kill him while Michael attends a party with Fredo, Geary, and Johnny Ola.  It is there Michael finds out some awful truths as he returns to Las Vegas learning that Kay had a miscarriage while Hagen tells him that he is to go on trial against the U.S. Senate.  Though Geary was willing to help Michael and Willie Cicci, the Senate are trying to go after Michael with Pentageli as the big witness to testify against him.  With Fredo returning home to Las Vegas, Fredo reveals his frustration towards Michael along with information about the trial.  While Michael decides to keep Fredo at bay, he finally gets Pentageli to commit perjury to win.

Though Michael won his case, his relationship with Kay has suffered forcing the marriage to dissolve following an ugly secret.  With his mother dying and Connie pleading to Michael to forgive Fredo for what he's done.  Michael gives in to Connie's pleas but his plans for some unfinished business leaves Hagen alienated and disillusioned despite choosing to stay at Michael's side.  Even as it became clear for those who were close to realize how far Michael has descended.

It's a rare feat for a film sequel to outdo the first one. With the case of The Godfather and the sequel, it's even rare to match it up where neither top each other but are equal in what both films are trying to say. With The Godfather, it's a thematic film about family in the world of crime and how an old man tries to run his business as just a business and not bring anything personal to the game. With Vito Corleone trying to protect his family and wanting a better life for them while not getting his sons too caught up in personal matters in the mob game. The ending in the first Godfather with Vito Corleone's death only reveals in the way Michael Corleone runs the business only to lose sight of himself and what his father stood for. There, it sets up the idea of what becomes the center-point of The Godfather, Part II.

The second film is clearly darker in one of its stories where the overall part of the film is very tragic. It remains a family film but one where the family disintegrates. The credit for this complex, parallel world of the young Vito Corleone and an older Michael Corleone in the 1950s goes to the team of the book's novelist Mario Puzo and co-screenwriter Francis Ford Coppola. The story in many ways is a classic rise-and-fall story but its approach of a man's rise and his son's downfall only gives the story of the Corleone family more intriguing and heartbreaking at the same time. It shows the similarities and difference of the way Vito and Michael Corleone deal with their business and family.

While Vito's story has its share of brutality and violent moments, it's only because he was forced to see violent acts as a child and tries to ignore it. Yet, when he’s a man trying to make a simple, decent life only to be pushed away by another power-hungry mob boss. He is forced to go into a life of crime to do right not just for himself but for his family. Unlike Don Fanucci and Don Ciccio, Vito doesn't make his presence known nor does he act like the big-shot of the town. Instead, he tries to help the little people while wanting to not make them feel that they'll be in trouble if they do something wrong. Still, Vito's act of violence was only personal in order to have some emotional closure. Yet, his act only helps him gain a status as a respected mob boss who doesn't like to cause trouble. Another side of him is the way he deals with his family and how he cherishes them where all of his qualities are passed down to his three sons.

In Michael's part of the story, it starts off with his cold-hearted way he deals with business as he reveals to Senator Geary that they're both corrupt in every way. His emotional take on business only leads him into this downward spiral where in the end, he alienates nearly everyone around him to the point that he becomes paranoid. The hit on him confirms his paranoia while he ends up trusting no one, not even himself. Michael, in the end, becomes as cold-hearted and ruthless than his father was when his father rarely showed that part of himself. The result of the decisions he made, the way he's corrupted himself, the way he deals with his own family, and how he tries to distance himself in the way his father does thing would only begin to haunt him in the years to come.

If the film's script in all of its dramatic elements and complex structure is filled with amazing moments, Coppola's sprawling direction takes it to new heights. The scene where Vito Corleone plans to assassinate Don Fanucci is one of the best presentation with images of a parade, a play, and the street with Fanucci walking around on the street. Coppola brings a vision that is unique in its two parallel storyline by going for a wide-open look of Sicily and old New York in the Vito Corleone sequence. His vision of Michael Corleone's world from Miami, Cuba, Vegas, and Washington, D.C. is a little bit bleaker. Coppola also heightens the emotions and tragic nature of the film that really becomes hypnotic to watch in every way and form, especially a classic scene of Michael and Fredo discussing Fredo's frustration. The way Coppola composes tragedy is very prominent throughout the film, especially in the film's flashback ending of Michael recalling his own ideal innocence which was far removed from the cold nature that he is in the late 50s. It's truly some of the best directing ever done in film.

Helping Coppola in his sprawling vision is Gordon Willis, who also shot The Godfather. The famed cinematographer brings the same, unique, sepia-like vision of orange throughout the entire film where in the Vito Corleone sequence, the film has a distinctive look that is classical. The look of the first film is given more coverage where the exteriors of Sicily is beautiful to look while the New York scenes reveal a lesser, color feel. The interiors are given an idea of intimacy with little lighting other than a light bulb or a candle to feel the look of the times. The Michael Corleone sequences has more color yet the feel of the looks is even bleaker as the colors began to decay within the story as the feel of the film looks less and less colorful. Willis' work in the series is wonderfully distinctive in its authenticity and atmosphere.

Helping Coppola and Willis with that look is Coppola's longtime collaborator Dean Tavoularis. The production designer creates a look of the film that is authentic to the period that the differing stories are in. From the poor yet simple look of Little Italy in early 1900s New York to the lavishness of Las Vegas, Tavoularis, along with art director Angelo P. Graham and set decorator George R. Nelson, create an atmosphere that plays to the feel of the film that is wonderful to look while enclosing the worlds that the Corleone men are in. Helping out with the costume design of the film is Theadora Van Runkle who captures a wonderful, flashy look of the Las Vegas, 1950s sequence of the film while giving a wonderful look to the Don Fanucci character with his white suit. Editors Barry Malkin, Richard Marks, and Peter Zinner do great work in not just giving the film a nice pacing feel but also the presentation sequences for the Don Fanucci assassination scene and the classic climax of Michael finishing his plans. Longtime Coppola collaborator Walter Murch does great sound work in capturing the tone of the film in its atmosphere.

Composers Nino Rota and Coppola's father Carmine do great work in not just the familiar themes of the film but also playing the tension of the film. While Carmine brings out more innocent moments of the film, Rota's music balances it with his dark, sprawling arrangements. The music of the film portrays the film's tragedy and disintegration of Michael while building up the innocent hi-jinks of Vito Corleone. It's the music of Rota and Coppola that stands out among the many classic films scores.

Finally, there's the film's amazing ensemble that features several famed cameos and small appearances. There's early performances from the likes of Danny Aiello as one of the Rosato brothers, Bruno Kirby as a young Clemenza, Harry Dean Stanton as an FBI agent protecting Pentageli, and former teen idol Troy Donahue as Connie's new husband, whose real name is Merle Johnson. There's also early performances from two of Coppola's children, Roman as a young Santino and Sofia as a girl on a boat arriving to America. There's also some great cameos from Roger Corman as a Senator, Gianni Russo as Carlo in a flashback, Abe Vigoda as Tessio, and a fantastic flashback performance from James Caan as Santino.

Smaller performances from Joe Spinell as Willie Cicci, Amerigo Tot as Michael's Miami bodyguard, Frank Sivero as Genco, John Aprea as a young Tessio, Richard Bright as the brooding Al Neri, Tom Rosqui as Rocco, and Morgana King as Mama Corleone along with Francesca de Sapio as the young Mama Corleone and Maria Carta as Vito's mother. Gastone Moschin and Guiseppe Sillato are great as the dons that Vito Corleone despises while Oreste Baldini is great as the young Vito Corleone. Future Sopranos star Dominic Chianese is excellent as the sly Johnny Ola while G.D. Spradlin is wonderful as the corruptive Senator Geary who ends up pledging loyalty to the Corleone family. Michael Vincente Gazzo is wonderfully hilarious as the angry, frustrated Frank Pentageli whose loyalty for the Corleone family is shaken when he believes he is tricked. Pentageli is an interesting, complex character of a man who wants what is promised to him only to realize that the old days of Mafia is dying.

While Talia Shire's role as Connie is small, her performance as Michael's frustrated young sister is one of the most memorable. Notably for Shire's plea to take care of Michael where eventually, she becomes his only family ally who is forced to realize about the family business. Diane Keaton gives an even better performance in her role as Kay whose understanding about the mob and family begins to confront Michael's ideas of family. Keaton's performance is amazing to see a woman who realizes the dangers that she's living in and how it affects her own children as she is saddened at who Michael has become. Lee Strasberg gives an amazing performance as a version of Meyer Lansky in the role of Hyman Roth. Strasberg's masterful performance reveals an ailing man who is hoping to retain the power and presence that he wanted for so many years despite his attempt to try and con Michael out of his money. Strasberg is great in his role.

The best supporting performance is the late John Cazale in the role of Fredo. Cazale brings all sorts of sensitivity, heartbreak, and frustration into a character who is so complex and emotionally that anyone can relate to him. Cazale steals the show from everyone including Al Pacino in a classic scene about Fredo being stepped over. Cazale exudes all sorts of emotions into the role that it's one that is extremely memorable. It's even sadder that Cazale would later die in early 1978 despite being in five films, all of them considered to be classics. Robert Duvall is also great in the role of Tom Hagen who plays the role of a moral conscience who does everything he can to protect Michael and the family only to find himself alienated. Duvall brings the role of a man who sees the old ways being crumbled down into something more violent and ruthless as his own conscience comes to question despite his loyalty to Michael. Duvall is great in the role as he is one of the reasons why The Godfather series is a defining moment in cinema.

Robert de Niro gives a great performance in the role of young Vito Corleone as a man who tries to live a simple life only to find a better life in the world of crime but remain a simple man. While de Niro's performance is mostly done in Italian with little dialogue, the performance is amazing since it has the same wit and charm that Marlon Brando brought in the previous film. Instead of imitating Brando, de Niro brings his own wit and quiet acting into the role as he gives the Vito Corleone character which makes the man more innocent despite his deeds. Al Pacino gives a classic performance in the role of Michael whose development from young idealist wanting to stray from the mob into a dark, mob leader is amazing to watch. Pacino's cold stare and his eerie performance is very haunting and sad as the man from the first film is gone and has become a darker, paranoid man. Pacino sells the performance in every way as he has great chemistry while bringing the right approach to parallel the performance that fellow actor Robert de Niro gives.

When the film was released in late 1974, months after Coppola released his paranoid thriller film The Conversation. Not surprisingly, The Godfather, Part II became another huge box office success which eventually won six Academy Awards for Art Direction, Film Score, Adapted Screenplay for Puzo and Coppola, a Supporting Acting win for de Niro who was going up against co-stars Gazzo and Strasberg, Directing for Coppola, and Best Picture. Nearly 30 years after the release of the film, The Godfather, Part II remains a very popular film along with The Godfather as both films are often hailed as gangster classics. For Francis Ford Coppola, his work with The Godfather series wasn't done as in 1977, he released a TV-miniseries edit of the film with extra footage that didn't make it to the final cut which was somewhat successful despite its chronological approach.

The Godfather, Part II is definitely one of the best films ever made from Francis Ford Coppola.  Armed with amazing technical work by its crew, wonderful music by Nino Rota and Carmine Coppola, and a phenomenal ensemble cast.  Though it's not easy to say whether it's as good or better than its predecessor, it's one of those films truly defines the idea of what a great sequel can be.  Even as it has a narrative structure that is unique about the way men ran things back in the early 20th Century and in the second half.  In the end, The Godfather, Part II is a masterpiece from Francis Ford Coppola.

Francis Ford Coppola Reviews: Dementia 13 - (You're a Big Boy Now) - (Finian's Rainbow) - (The Rain People) - The Godfather - The Conversation - Apocalypse Now/Apocalypse Now Redux - One from the Heart - The Outsiders - Rumble Fish - The Cotton Club - (Peggy Sue Got Married) - (Garden of Stone) - (Tucker: The Man & His Dreams) - New York Stories - The Godfather, Part III - Bram Stoker's Dracula - (Jack) - (The Rainmaker) - (Youth Without Youth) - Tetro - (Twixt)

© thevoid99 2011