History tells us that would-be automobile mogul Preston Tucker was a silver-tongued con man, who misappropriated his investors' money and played fast and loose with ethics and legalities in the pursuit of his dream. Filmmaker Francis Ford Coppola isn't buying this: to hear Coppola tell it, Tucker was "Mr. Smith Goes to Detroit," a sincere visionary who tried and failed to buck the Big Three auto manufacturers.
This brilliant companion piece to the original The Godfather continues the saga of two generations of successive power within the Corleone family. Coppola tells two stories in Part II: the roots and rise of a young Don Vito played with uncanny ability by Robert De Niro and the ascension of Michael (Al Pacino) as the new Don. Reassembling many of the talents who helped make The Godfather Coppola has produced a movie of staggering magnitude and vision and undeniably the best sequel ever made.
In this deeply personal tale of estrangement and reconciliation between two rebellious brothers, set in a dreamlike and timeless Tulsa, Francis Ford Coppola gives mythic dimensions to intimate, painful emotions. After releasing the classically styled The Outsiders earlier the same year, the director returned to the work of S. E. Hinton, this time with a self-described “art film for teenagers.”
He wears a ratty old cardigan instead of tails, a battered felt hat in place of a topper – but one glimpse of those agile feet and you know he’s Fred Astaire. The great entertainer sang and danced his last musical lead in Finian’s Rainbow, director Francis Ford Coppola’s exuberant movie of the 1947 Broadway hit. Astaire plays an Irish rogue who plants a stolen crock of leprechaun gold in the soil near Fort Knox to reap what he thinks will be a rich harvest.