The Godfather Youtube Part 1

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The Godfather Youtube Part 1
The Godfather Youtube Part 1

The Godfather Youtube Part 1 – The Godfather Part II was the first film in the Godfather saga that I saw. This is probably a few years after the first edition. Since I knew very little about its predecessor at the time, and given that the sequel was constantly switching between timelines, it didn’t make much sense to me, but it helped fill in the gaps. piqued enough interest to act. Although the only material available to me at the time was his

Parodies. There’s something about the protagonists of some movies that are hard to shake – the Fast Eddie Felsons, Vincent & Nails, Red & Andys, and especially the Corleones. “The Godfather, Part II” continues the ongoing story of this family as the new patriarch, Michael, looks to expand his many businesses. Director Francis Ford Coppola illuminates the professional and personal challenges Michael faces by contrasting them with his father’s challenges in different times and cultures.

The Godfather Youtube Part 1

The Godfather Youtube Part 1

It wasn’t until the summer of 1980 that the original The Godfather made another run at theaters in Mexico. After all these years and dozens of screenings, I still think it’s as great as ever, except for a few flaws, such as the use of too much archival footage (Tom Hagen arriving in Hollywood in the 1940s, or Paulie, Rocco and Clemenza.driving around New York) and using props that don’t look too much like the actors (eg Hagen and Jack Waltz walking in the gardens of their villa). Although its financial success meant that the sequels didn’t suffer from similar budget constraints, the first Godfather far outshines them when it comes to backstory. I’ve always found the hunt for the Corleones by their enemies more interesting than Michael’s pre-revolutionary 1950s Cuban actions in Part II or his attempts to clean up his family’s past with the help of a real estate company in Part III. As I watch the sequels every year for the first half of the year, I always miss the departed characters from the first entry in the good old days when the family was besieged by Sollozzo and other families. In contrast, the cautious actions of Hyman Roth, whose malice we don’t even hear on screen, pale a bit. And yet, strangely enough, after I finished watching both films, the impact of the sequel was always stronger than the first, and I was left wondering how Coppola had surpassed the greatness of the first film. especially given the disability he had to deal with.

The Godfather (1972)

The first factor, I think, is that the director somehow managed to turn the weaknesses of Part II into strengths. For example, several film series have lost many characters in their first appearance. This list includes almost all the enemies of the family, as well as Sonny, Tessio, Carlo, Pauli, Luca Brasi and, above all, the central figure of Brando, Vito Corleone. The latter was originally supposed to appear in the final flashback scene, but at this point you feel like he’s been there all along. Maybe it has something to do with Robert DeNiro playing Brando without pulling any punches. The same problem was supposed to happen in the sequel with the missing Clemenza character, with Michael Gazzo’s Frank Pentangelli taking over the role. She’s even given Don’s old house and becomes a history buff like Clemenza, though her absence from the decades-long events of Part I is hard to buy. In the end, Gazzo’s Frankie Five Angels turned out to be as memorable as its predecessor. His wonderful conversation with Hagen, which ends with him saying “Addio” (literally, as it turns out), is clearly one of the best moments in the series. Would it have helped if Brando had appeared in the family reunion scene at the end? Would the sight of Vito’s old capo regime at the mob hearings or death in the bathtub have defeated the family’s enemies? In either case, it’s hard to imagine anything else, but the replacements have been so good that we’re not looking forward to those alternatives.

However, the most important factor to consider when trying to rank each of these films is that they tend to be more fun inside the family than outside, and Part II is no exception. . The plot of Cuba mainly serves as the basis for Corleone’s own conflicts, and the conflicts presented throughout contain many interesting contrasts and facets. Essentially, what makes The Godfather Trilogy so great is the unique bond and occasional deep hatred that can be fully formed between parents/children and their siblings, and even before that , no director since then has been able to convey the truth and resonance of it. as Coppola (second to Scorsese in Raging Bull). This is one of the main reasons why the audience eventually came to recognize this family as their own, and perhaps why, despite Coppola’s best intentions, the increasingly evil Michael Corleone retained the audience’s sympathy until the end of the series. this is the Garden of Sicily. The first part focused on Vito’s extraordinary ability to fight his enemies and his sons inheriting this ability in the most unexpected way. The second film goes even further, showing that Michael’s intelligence is inadequate when it comes to the inner workings of his crumbling family.

In general, the first Godfather film can be considered brighter than the second, but when it comes to some of the most valuable qualities of the series, such as the haunting revelations, it is clear that the influence of Michael’s listening to Fredo is a family one. The traitor in the second part is no less than Don’s realization of who his real enemy is in the first part. When it comes to memorable, knowing looks, even Kai’s realization that Michael lied to his face at the end of Episode I can’t match Michael’s conciliatory hug to Fredo, followed by a slight nod to his bodyguard. ‘adi. undoubtedly one of the greatest moments in film history. Even Kemine Coppola’s arrangements of Nino Rota’s music managed to enhance the original film’s themes, resulting in my favorite film soundtrack of all time.

By looking at another central issue of the controversial Part III, we can better understand what made Part II the best entry in the series. The characters we see at the beginning of the third Godfather hardly reflect the logical development of those we are left with at the end of the second. For example, what motivated Michael to forgive Kay and make up (which was ultimately forced)? How could Connie accept the stupid “drowning” excuse that Fredo was “drowning” his own death? The answers to these questions seemed to be based more on casting choices and the availability of actors than how their stories should naturally develop. On the contrary, this is one of the strongest points of the second part. Watching sequences like Michael and Hagen having a great conversation about relationships and life lessons (“There’s something I can’t tell you, Tom” dialogue) or something like that. When Vito returns to help his injured friend who helped him in his revenge plan, we get a better understanding of the roots of their deep loyalty. Also, the first movie’s initial comments about Michael promising Kai to change at some point, and his warning to Fredo to never turn against the family again, are fully realized in the sequel. Fratricide is territory that even the first film couldn’t even imagine, proving that a sequel to The Godfather was indeed necessary. Ultimately, The Godfather II expands our understanding and appreciation of the legendary characters introduced in the original film. It surpasses it in part because it improves upon its predecessor.

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Gerardo Valero lives in Mexico City with his wife Monica. Since 2011, he has written a daily blog (in Spanish) about movie clichés and blunders for Mexican Cine-Premiere magazine. His contributions to Ebert’s Little Dictionary of Cinema have been included in the last twelve issues of Roger Ebert’s Cinema Chronicle. In 2022, he turned 50 years old. The film has long been considered the greatest film of all time. Of course, this is as debatable as almost anything. In fact, this is something that should not be disputed

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