Just two years after being awarded Oscar awards for the best film and screenplay adapted for the transliteration to the big screen of the Italian-American book Mario Puzo, Francis Ford Coppola marked a milestone in the Hollywood industry making the continuation to "The Godfather", launching "The Godfather II". It was the first sequel to be awarded, like its predecessor, with the Oscar for the best film, watch it now and see why.
After delighting the entire world with his particular vision of the world of the Sicilian mafia and his control of the low funds of New York City by the hand of Don Vito Corleone (Marlon Brando, winner of the golden statuette for best actor) in his predecessor, Coppola gives us two parallel stories this time: one of them covers since childhood in Corleone Sicily in 1901, where he saw how his mother was shot by the local mafia bonnet, which led him to flee to the United States, until the foundation of the Corleone family in the city of skyscrapers; the other follows the life of the new mafia boss, Michael Corleone (Al Pacino), son of Don Vito, and his chores between 1958 and 1959.
Performed by Robert De Niro in a state of grace (Oscar winner for best supporting actor for his wonderful performance), assisted by the exciting life of a young Vito Corleone willing to do everything to protect himself and those around him and how he arrives to become the head of the Cosa Nostra (the scene of the shooting of Don Fanucci). We are facing one of the key works of the film about gangsters, where the always attractive world of the low-income city that never sleeps is presented to us with the naturalness that Coppola knew how to see and bring to the scene giving fruit to the unique sequel that for the Taste of a server, surpasses its predecessor breaking that saying that "Second parts were never good".
'The Godfather II' not only surpasses 'The Godfather' in form and content, but does in the form of "official" recognition, and that although it is always possible to doubt the real value of the Oscar ceremony , this section managed to outnumber the total number of prizes won (6 statuettes against 3 of its predecessor) and controlled on the podium of the fictional characters Vito Corleone (character doubly awarded in 1972 and 1974) and made that, although Merciless Francis Ford Coppola and his vision of the mafia will become a little close for the people of a cake with his, surely, best film made to date.
Tavoularis, and its artistic director Angelo Graham, as well as its costume designer Theadora Van Runkle, in addition to achieving the dream cohesion and plastic homogeneity between the different departments and for the different periods, take into account, helped of course by Willis, the memory of the spectator in environments such as the remodeled office of Don Vito. There the fabrics of the sofas, for example, refer to others that we will see in sequences of the young Vito; in the same way that the yellowish light of that sequence with Pentangeli treats Graham's artistic direction in a way that matches it with the yellow filter used in the sections of the past. A time line is established with ease, as credible as life itself, and that collaborates as much as fidelity to the character of the characters in the creation of that “Corleone mythology”. More examples: the treatment of building materials such as wood or marble is perfectly integrated in both temporal nuclei; also the colors of the costumes and the color palette of each environment, which is repeated, as in the variations of a score, in each block. Watch online this beautifully made movie to see for yourself what's all the fuzz about.