Tagarchief: Gangster Films

The Godfather: Part II (1974)

Posted on by Jeppe Kleijngeld

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Al Pacino (Don Michael Corleone), Robert Duvall (Tom Hagen), Diane Keaton (Kay Adams), Robert DeNiro (Vito Corleone), John Cazale (Fredo Corleone), Talia Shire (Connie Corleone), Lee Strasberg (Hyman Roth), Michael V. Gazzo (Frankie Pentangeli), G.D. Spradlin (Senator Pat Geary), Richard Bright (Al Neri)

Francis Ford Coppola’s The Godfather: Part II is a rare sequel that not only lives up to the legacy of its predecessor but in many ways deepens and expands it. Rich with atmosphere, emotional depth, and moral complexity, this beautifully dark chapter in the Corleone saga is, indeed, an offer you can’t refuse.

Following the immense success of the 1972 classic, a sequel was greenlit almost immediately. However, with only a small portion of unused material from Mario Puzo’s original novel – the early life of Vito Corleone – Coppola and Puzo crafted an original narrative chronicling Michael Corleone’s reign as head of the family, interwoven with the rise of his father, Vito. These parallel timelines form the heart of Part II, highlighting both the legacy and the transformation of the Corleone family.

In Vito’s storyline, we witness his arrival in New York as a young immigrant, escaping the trauma of his family’s murder in Sicily. As he grows up, he confronts the oppressive rule of a local crime boss and takes the first steps toward becoming a benevolent – but ruthless – leader within the community. Robert De Niro is mesmerizing as the young Vito, embodying the character with subtlety and strength, and earning a well-deserved Academy Award for Best Supporting Actor.

Meanwhile, Michael’s narrative unfolds in stark contrast. Now at the height of his power, Michael strives to legitimize the family business and expand into Cuba, partnering with the aging Hyman Roth. But betrayal and deception close in from all sides. Al Pacino delivers a haunting performance as a man consumed by control, paranoia, and an increasingly cold detachment from those closest to him. Despite the role being arguably the pinnacle of his career, Pacino was controversially overlooked by the Academy.

The film’s production design by Dean Tavoularis and the moody, shadow-drenched cinematography by Gordon Willis once again elevate the storytelling to operatic heights. But it’s the ensemble cast that truly shines – John Cazale as the fragile Fredo, Robert Duvall’s solid Tom Hagen, Diane Keaton’s heart-wrenching portrayal of Kay, and powerful additions like Lee Strasberg as Roth and Michael V. Gazzo as Pentangeli.

Coppola’s structural innovation – juxtaposing father and son at similar ages – profoundly enriches the film. While both Vito and Michael are motivated by a desire to protect and provide for their families, their approaches – and ultimate fates – are starkly different. Vito, though a criminal, retains warmth and humanity; Michael becomes increasingly isolated, sacrificing everything in his quest for power.

This is essentially the story of Michael Corleone’s downfall. He may get to keep his power, but he is completely lost, not understanding anymore how his actions have a destructive effect on his environment. He is now estranged from his wife and then from all others around him.

In the first movie, when Michael has the heads of the Five Families murdered, it is very satisfying, but when he deals with his enemies – including his own brother – at the end of The Godfather: Part II, it has completely the opposite effect. Michael’s transformation, which started in the first movie, is now complete. He is alone with all his power and it is with that frightening image that Coppola ends this remarkable film.

Rating:

Quote:
MICHAEL CORLEONE: Connie, if you don’t listen to me and marry this man… you’ll disappoint me.

Trivia:
Marlon Brando and Robert DeNiro are the only two actors to ever win separate Oscars for playing the same character. Brando won Best Actor for playing Vito Corleone in The Godfather (1972) and DeNiro won Best Supporting Actor for playing Vito Corleone in its sequel and prequel The Godfather: Part II (1974)

 

The Godfather (1972)

Posted on by Jeppe Kleijngeld


‘An offer you can’t refuse’

Directed by:
Francis Ford Coppola

Written by:
Mario Puzo (novel / screenplay)
Francis Ford Coppola (screenplay)

Cast:
Marlon Brando (Don Vito Corleone), Al Pacino (Michael Corleone), James Caan (Santino ‘Sonny’ Corleone), Richard Castellano (Peter Clemenza), Robert Duvall (Tom Hagen), Sterling Hayden (Capt. McCluskey), John Marley (Jack Woltz), Richard Conte (Don Emilio Barzini), Al Lettieri (Virgil ‘The Turk’ Sollozzo), Diane Keaton (Kay Adams)

When discussing gangster films, The Godfather is the one movie that is always part of the conversation. Often hailed as the greatest gangster film of all time, it frequently tops high-profile lists as the best movie ever made, transcending genres entirely.

A myriad of elements contribute to its enduring appeal: the impeccable casting, masterful performances, meticulous production design, breathtaking cinematography, inspired direction, and Nino Rota’s iconic score. However, one element elevates The Godfather above its peers: the family theme. Director Francis Ford Coppola, drawing from his own Italian-American heritage, imbues the narrative with a deeply relatable exploration of family dynamics. This personal touch makes the story resonate universally, beyond the crime genre.

At its heart, The Godfather tells the story of the Corleone crime family at its zenith and the challenges it faces. Aging patriarch Don Vito Corleone (Marlon Brando) grapples with two critical dilemmas: selecting a successor to lead the family after his death and navigating the changing criminal landscape of post-war America. The rise of the narcotics trade brings new threats, and his resistance to adapt creates powerful enemies.

Ironically, neither Paramount Pictures nor Coppola himself anticipated the monumental success of the film. While Coppola had achieved some recognition for his work on Patton (winning an Academy Award for the screenplay), he was not yet an established auteur. Meanwhile, Mario Puzo’s source novel, though popular, was dismissed by some as pulp fiction. The production was fraught with difficulties, most notably in casting. Paramount was resistant to casting Marlon Brando, then considered a liability, and the studio balked at Coppola’s insistence on the relatively unknown Al Pacino for the pivotal role of Michael Corleone. These decisions nearly cost Coppola his job. Looking back, it’s impossible to imagine anyone else embodying these roles.

Despite the hurdles, Coppola and Paramount struck cinematic gold. The Godfather became not just a groundbreaking box-office sensation but an instant classic, revered by critics and audiences alike. Every aspect of the film is masterfully executed: the authentic recreation of the late 1940s and early 1950s, the technical precision, Rota’s hauntingly beautiful score, and, above all, the performances.

The acting remains a standout triumph. Brando’s monumental portrayal of Don Vito earned him a well-deserved Oscar, but the supporting cast is equally remarkable. James Caan is explosive as the hot-headed Sonny Corleone, and Al Pacino delivers a career-defining performance as Michael. Pacino’s subtle and chilling transformation from an idealistic college graduate to a ruthless mob boss anchors the film. When Don Vito’s demise shifts the narrative focus to Michael, the transition is seamless, a testament to Pacino’s magnetic presence.

Michael’s arc forms the emotional core of The Godfather. His descent into violence and moral compromise is both tragic and compelling. By the time he exacts his revenge in the film’s climactic sequence, the audience feels both the catharsis of his triumph and the weight of his irrevocable loss. The final moments, where the office doors close on Michael and shut out his wife Kay, encapsulate the story’s tragic brilliance. It’s a devastatingly poignant image of power, isolation, and corruption.

Every frame, every line, and every note of The Godfather exudes cinematic perfection. It’s a film that redefined not only the gangster genre but cinema itself. To speak of The Godfather is to speak of the very essence of filmmaking excellence. It remains, unequivocally, a masterpiece for the ages.

Rating:

Quote:
MICHAEL CORLEONE: “My father is no different than any powerful man, any man with power, like a president or senator.”

Trivia:
Ernest Borgnine, Edward G. Robinson, Orson Welles, Danny Thomas, Richard Conte, Anthony Quinn, and George C. Scott were considered by Paramount Pictures for the role of Don Vito Corleone.

The Public Enemy (1931)

Posted on by Jeppe Kleijngeld


All his life he took what he wanted…Why not women?

Directed by:
William A. Wellman

Written by:
Kubec Glasmon
John Bright
Harvey F. Thew

Cast:
James Cagney (Tom Powers), Jean Harlow (Gwen Allen), Edward Woods (Matt Doyle), Joan Blondell (Mamie), Donald Cook (Mike Powers), Leslie Fenton (Nails Nathan), Beryl Mercer (Ma Powers), Robert O’Connor (Paddy Ryan), Murray Kinnell (Putty Nose)

William A. Wellman’s The Public Enemy stands as one of the defining works of early gangster cinema. Released in 1931 – the same year as Little Caesar starring Edward G. Robinson – it helped kick off a gritty, hard-hitting genre that would become a Hollywood staple.

The film opens in industrial America circa 1909, where barrels of bootleg booze roll through the streets and petty crime leads to organized underworld dealings. At the heart of the story are two Irish-American youths who drift into gang life. One of them is Tom Powers, a volatile and ambitious thug played by the electric James Cagney in a star-making performance.

Cagney’s Tom Powers isn’t just another gangster – he’s a smoldering embodiment of the American outlaw spirit, tough, unpredictable, and ultimately doomed. And while the film famously features Cagney’s brutal shooting of a horse (what is it with gangsters and horses?), it’s the iconic grapefruit scene – where he smashes a half grapefruit into Mae Clarke’s face – that has become the movie’s enduring image.

Though Edward G. Robinson’s Little Caesar beat The Public Enemy to theaters by a few months, Wellman’s film surpasses it in terms of visual style and production value. Beautifully shot with a sharp eye for period detail, the direction gives the film a sense of realism and cinematic flair that feels advanced for its time. Interestingly, the film’s lead role was originally assigned to Edward Woods, with Cagney cast as his sidekick. But during rehearsals, Wellman recognized Cagney’s screen presence and wisely switched the roles. The result is one of the most memorable debuts in film history; Cagney utterly commands the screen.

The story charts Tom Powers’ rise through the criminal ranks during Prohibition, chronicling his growing influence and inevitable downfall. Like many gangster films of the era, such as Scarface (1932), The Public Enemy operates as a cautionary tale. While it thrills with its violence and bravado, it ultimately condemns the gangster lifestyle. As Powers’ actions begin to take a toll on those around him, the film steers toward its grim, uncompromising conclusion. Cagney’s final line – “I ain’t so tough” – rings with bitter irony.

The Public Enemy marked the beginning of two major cinematic milestones: the emergence of James Cagney as a major star and the ascendance of the gangster film as a serious Hollywood genre. Nearly a century later, it remains a landmark of American cinema: stylish, shocking, and still relevant.

Rating:

Quote:
PADDY RYAN: “As far as I’m concerned there’s only two kinds of people: Right and wrong. Now, I think you’re right. You’ll find that I am, unless you cross me.”

Trivia:
The scene where Tom shoots the horse that threw and killed Sam ‘Nails’ Nathan in a riding accident was based on an actual incident. In 1924, Sam ‘Nails’ Morton, a member of Dion O’Banion’s gang, was thrown from his horse and killed while riding in Chicago’s Lincoln Park. Other members of the gang, led by Louis ‘Two Gun’ Alteri, kidnapped the horse, took it to the spot where the accident occurred, and shot it dead. Source: Carl Sifakis, ‘Encyclopedia Of American Crime.’

Fist of Honour (1993)

Posted on by Jeppe Kleijngeld


‘There is no honour in death…only in war’

Directed by:
Richard Pepin

Written by:
Charles T. Kanganis

Cast:
Sam J. Jones (Fist Sullivan), Joey House (Gina), Harry Guardino (Dino Diamond), Abe Vigoda (Victor Malucci), Nicholas Worth (Tucchi), Bubba Smith (Detective Johnson), Frank Sivero (Frankie Pop), Scott Getlin (Eddie the Zipper), Jaime Alba (Sammy Malucci), Ali Humiston (Alex)

A party is held to celebrate the truce made between two godfathers; Dino Diamond (Harry Guardino) and Victor Malucci (Abe Vigoda). After two of Malucci’s men switch sides, Diamond decides to take out Malucci anyway. The fall guy is Fist Sullivan, who works as a debt collector for Diamond.

Attempt to cross a mob film and a fight film which basically fails in both genres. The crime story is filled with cliches and gratuitous violence and the fight scenes are horribly choreographed. Sam J. Jones gives a wooden performance as the lead character and the production value looks low.

Somehow it is still an entertaining viewing. It is strangely fun to watch stupid gangsters kill and be killed and to watch Jones kick the crap out of some ignorant debtors. It’s also enjoyable to watch Harry Guardino as the evil mob boss Dino Diamond.

Typical exploitation gangster flick so know what you can expect.

Rating:

Quote:

DETECTIVE JOHNSON: “You broke the truce in the worst way – I need a body.”

Trivia:

This was Harry Guardino’s final film. He died in 1995 of lung-cancer.