The GodFather Part II - Michael, Connie & Fredo

The Godfather Part II is a 1974 American epic crime film produced and directed by Francis Ford Coppola from the screenplay co-written with Mario Puzo, starring Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, Talia Shire, Morgana King, John Cazale, Mariana Hill, and Lee Strasberg. It is the second installment in The Godfather trilogy. Partially based on Puzo's 1969 novel The Godfather, the film is both sequel and prequel to The Godfather, presenting parallel dramas: one picks up the 1958 story of Michael Corleone (Pacino), the new Don of the Corleone family, protecting the family business in the aftermath of an attempt on his life; the prequel covers the journey of his father, Vito Corleone (De Niro), from his Sicilian childhood to the founding of his family enterprise in New York City.

Following the success of the first film, Paramount Pictures began developing a follow up to the film, with much of the same cast and crew returning. Coppola, who was given more control over the film, had wanted to make both a sequel and a prequel to the film to tell the story of the rise of Vito and the fall of Michael.

Principal photography began in October 1973 and wrapped up in June 1974. The Godfather Part II premiered in New York City on December 12, 1974, and was released in the United States on December 20, 1974, receiving divided reviews from critics but its reputation, however, improved rapidly and it soon became the subject of critical re-evaluation. It grossed between $48–88 million worldwide on a $13 million budget. The film was nominated for eleven Academy Awards at the 47th Academy Awards and became the first sequel to win for Best Picture. Its six Oscar wins also included Best Director for Coppola, Best Supporting Actor for De Niro and Best Adapted Screenplay for Coppola and Puzo. Pacino won the BAFTA Award for Best Actor and was nominated for the Academy Award for Best Actor.

Some have deemed it superior to The Godfather.[4] Both Part II and its predecessor remain highly influential films, especially in the gangster genre, and are considered to be among the greatest films of all time. In 1997, the American Film Institute ranked it as the 32nd-greatest film in American film history and it retained this position 10 years later.[5] It was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1993, being deemed "culturally, historically, or aesthetically significant".[6] The final film in the trilogy, The Godfather Part III, was released in 1990.

Source : Wikipedia

[wheres_bears]

I like how Al Neri is sort of standing behind Fedo like a figure of death

[LacoSinfonia]

The shot of Fredo’s hands clawing into Michael’s back is so incredibly heartbreaking.

[LongNguyen-crhz]

Even a hitman like Al Neri couldn’t look at Michael with straight eyes. A true boss

[mikev]

That look in Michael's eyes when he glances up from "forgiving" Fredo - the hitman was like "dude - you are fucking ice cold'

[stravinsky]

For a moment you wonder if this is going to turn into a powerful story about love and forgiveness, and then Michael gives Neri that look.

[callofdiarrhea]

“He’s so sweet and helpless without you”

[djsosonut]

That moment at the end with Pacino is one of the main reasons I love that movie. Just so well shot, acted and earned. With no dialogue needed. You know Michael has in no way forgiven Fredo. And you could see him conveying that to Fredo's future killer.

[adamspeckert]

The stress of running the Corleone family is written all over Pacino’s face. Especially in Godfather 2.

[pedrobakale]

The musical moment of Michael's false forgiveness is one of Rota's greatest artistic achievements. It is a musical piece that even has experimental findings, not only because Kay's love theme alternates with The Immigrant, but the sound climax of this theme is precisely the beginning of it.

[arcangeloiurato]

I feel like no one talks about the beginning of this scene, where the children are in the room just sitting in silence while their father has his face in his hand, almost like the only reason they're there is so that he knows they're not with their mother. It's just an eerie feeling that helps show how far Michael has fallen

[CsnvLsRnst]

Another touch of genius is Nino Rota's soundtrack from 2:30 to 3:44, because it mirrors the exact same feeling we, as the audience, are experiencing: The build-up, the soaring moment when the brothers hug and we think, for a split second, that some redemption has been achieved... And then Michael raises his cold eyes to Neri, just as the music is brutally, and anti-climacticly brought down, and just like Al, we realize through the music that everything was a lie.

[marcd]

What's never mentioned is the reaction by Al Neri when Michael gives him "The Sign". His facial reaction is so subtle, but he's clearly taken aback by what Michael's asking him to do.

[rfdagreat]

It’s a shame John Cazale didn’t live long enough to make more films- possibly with Pacino. Them two dudes had an acting chemistry bar-none.

[jaxs]

Man! How much this guy is charismatic. He doesn't have any move in any part of his face for showing his emotions. Like lips or eyebrows. He plays Just by his eyes and we can feel how much he is dangerous

[forsakenbanksy]

The gentile touches to Connie just as the godfather theme starts to play is just so powerful and just magnificent screen writing.

[variousJnames]

Talia Shire was just FANTASTIC as Connie!

[alimovasati]

"Women and children can be careless but not men!"

Connie is forgiven and Fredo not!

[brentreid]

the most touching and horrific scene at the same Michael becomes a monster even Vito wouldn't recognize

[rasalghul]

Its amazing what Pacino can command by just his face. He doesn't even need to speak to feel the power he has and the worries of the family. The sitting in the chair and the simple glance to Neri

[leviathanmg]

Neri was like, "Damn, Mike..."