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All this together led to a belief by the immigrants that an organisation actually existed and thus the folklore existed. In any case, they still terrorised, intimidated and did some generally nasty stuff to the Italian immigrant population of the early twentieth century. In reality the ‘Black Handers’ in The Godfather II were freelancers with no real affiliation to a criminal organisation. This is described as ‘a process of colour cinematography using synchronized monochrome films, each of a different colour, to produce a colour print.’ The film was eventually digitally restored (as part of the trilogy) in 2008, thank goodness for Blu-ray. The Godfather II was the last American film to be printed in dye-transfer Technicolor. In actuality it kicked-off the trend of Hollywood films using ‘Part’ in their titles after the films exceptional success. They believed it would be off putting to an audience who would see it as an addition to the prequel. His reasoning behind making the sequel then? He thought it would be interesting to make a film about two stories in parallel of a man and his father at the same age.Īccording to the director’s commentary on the DVD release of the film, Paramount was originally opposed to Coppola calling the film ‘Part II’. In later interviews he states he didn’t particularly want to make a sequel because the first part ended all the original aspects of the story.
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The Godfather Part II is one, submerging us in a world of mafia fuelled violence alongside the dream of making it big.Īs we all know, not everything in the film industry is black and white so here’s a list of things that you probably didn’t know about the second instalment of the trilogy…įrancis Ford Coppola was exhausted by the time he’d finished The Godfather. Great sequels are about as rare as an Italian mobster without his suit but in the words of Don Vito ‘Don’ worry’ there are a few exceptions.