Storyline
In the continuing saga of the Corleone crime family, a young Vito Corleone grows up in Sicily and in 1910s New York. In the 1950s, Michael Corleone attempts to expand the family business into Las Vegas, Hollywood and Cuba.
Directors
Cast
Al Pacino, Diane Keaton, Talia Shire, Sofia Coppola, Richard Bright, Tere Livrano, Carmine Caridi, Frank Pesce, Roman Coppola, Roman Coppola, Harry Dean Stanton, Carmen Argenziano, Richard Matheson, Robert De Niro, Sho Kosugi, Dominic Chianese, Robert Duvall, Frank Sivero, Gary Kurtz, Larry Guardino, Bruno Kirby, Jay Rasumny, Roger Corman, Danny Aiello, James Caan, Ivonne Coll, Gianni Russo, Shô Kosugi, John Cazale, Joe Spinell, John Aprea, Buck Houghton, Erica Yohn, Michael V. Gazzo, Abe Vigoda, G. D. Spradlin, G.D. Spradlin, Peter Donat, Kathleen Beller, John Megna, Carmine Foresta, Phil Feldman, Julie Gregg, Mario Cotone, Troy Donahue, Lee Strasberg, Francesca De Sapio, Oreste Baldini, Gastone Moschin, Giuseppe Sillato, Morgana King, Marianna Hill, Leopoldo Trieste, Fay Spain, William Bowers, Tom Rosqui, Amerigo Tot, Maria Carta, James Gounaris, Nick Discenza, Joseph Medaglia, Joseph Della Sorte, Joe Lo Grippo, Ezio Flagello, Livio Giorgi, Saveria Mazzola, Tito Alba, Johnny Naranjo, Elda Maida, Salvatore Po, Ignazio Pappalardo, Andrea Maugeri, Peter LaCorte, Vincent Coppola, Tom Dahlgren, Joe De Nicola, Edward Van Sickle, Gabriella Belloni, Venancia Grangerard, Connie Mason, Victor Pujols Faneyte, Filomena Spagnuolo, Julian Voloshin, Italia Coppola
Trailer
Reviews
100
Empire
And with supporting roles from the likes of Diane Keaton, Robert Duvall and Lee Strasberg, to say nothing of Roger Corman and Harry Dean Stanton in bit parts, this is nothing short of magisterial.
100
ReelViews
As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.
100
Cinematographer Willis superbly captures the turn-of-the-century period, applying a seriographic tint to flashback scenes for a softer, richer look than the sharp image of the ongoing contemporary story.
100
This is quite simply one of the saddest movies ever made, a tale of loss, grief and absolute loneliness, an unflinching stare into the darkest moral abyss.
100
The plotting is elliptical and the sweep intoxicates, but the contrast between De Niro’s meditative Vito and Pacino’s soul-starved eyes brings piercing focus to Coppola’s resonating study of corrupting power.
