Three brushes of "The Godfather 2". The first two times I watched 12, I can't remember clearly, but I only know that 1 was someone who wanted to kill the Corleone family, and the Corleone family killed them back, and the father died and the son took over. 2. The old hatred just got rid of the new hatred, and the Corleone family went out again, and the silly brother died because he betrayed Michael. I was very sad when I saw "The Godfather 3" back then, although I couldn't say why, but I just thought it was so rotten, it sucks really. But 12 is really good, like 2 the most. Then, when I watched it today, I wanted to revisit all the things I remember about The Godfather, and what exactly it said about it. The first generation of godfathers came to the United States with the immigration wave, from a small place that stabbed you to death if you are not pleasing to the eye, and walked into a big world full of strangers in a trance. However, when we started, we still had to stick to the local Italian community, and the mafia that only bullied the common people came from overseas. Vito hated this gangster who only dared to ask for protection money from the "compatriots", so he killed him and became his own boss, doing smuggling business to benefit the old folks on both sides of the ocean. Vito is a "decent" man in the traditional sense, a "charismatic" figure with some unshakable creeds and a clichéd and touching relationship. If he was born hundreds of years earlier, it would be easier for Vito to pass on the family business, and it would also ensure that his son would not be bleak late, and that the family could develop for several generations. But his actual position in time and space is only enough for him to make a fortune before the big wave of rationalization arrives. The assassination of the five family leaders at the end of "1" was very jubilant. In "2", Roth, Frankie, and Fredo committed suicide, homicide, homicide, and it was over. It was not happy, even a little depressing, because it was damn All of them are dead, and will they be invincible in the future? In a way, yes, Corleone has only one enemy left and will never be able to defeat it - the Federation. The Federation should thank Corleone. If his family had not been killing for so many years, and when the legal weapons were strong enough, there would not be a few big bosses left to engage in illegal business and not white enough. They probably wouldn't be able to deal with it. Hyman Roth, a ruthless old Jew who came to the United States earlier than Vito. In "2", there are many black belly between him and Michael, but in fact, before Michael broke him, Roth came to the United States. already lost. Not to Corleone, but to his vision. A group of Michael and Roth went to Cuba, when the United States still controlled Cuba, but the streets were already very chaotic, and it didn't take long for Castro to come to power. When the "American Entrepreneurs Senior Corps" arrived, Castro was still hiding somewhere, and Roth was very determined to bet on the government's side, saying: This is the paradise for us bad things! Make a comparison in Las Better hotels and more luxurious Casinos in Vegas don't have to pay taxes. You can buy a favorite president with money. This kind of good life can live for five hundred years. Michael, you can see that investing here is an excellent blahblahblah. As a result, the next night, the revolution forced the "elderly regiment" to run away. Nowhere is paradise, nor is it the United States when Vito's big ship arrived. Michael knew very well that he had one thing in mind: legalization. But this is very difficult. No one is a friend of the Federation. No amount of money can buy the entire bureaucracy. After all, what you are facing is no longer an individual who can be destroyed materially with a knife and a small gun, but a person who, although full of loopholes and without factual justice, has no love or hatred for you, and is almost equal in indifference powerful order. It won't come to play with you that set of "friends and enemies" stuff. It can crush you to death just with its fat body, causing your myocardial infarction to suffer from all kinds of tedious work to open up joints... When all your hair falls out, Legalization may not be achieved. What's even sadder is that this weapon was first used by my own people to fight in the nest. Gangs fight each other and get each other in front of a jury, thinking it's a victory. Before Roth was killed by Michael, he had already made himself a corner: Israel refused his visa, South America did not give him political asylum, he had to go back to the United States to be a pet dog for the FBI, and maybe write an autobiography with some black material. What. Legitimize is always a paradox. In the end, the pirates still wanted a certificate with the royal seal, and the lawless wanted to "submit" in some respectable way to the privileges that once refused to submit. This is a kind of unique human affection, but only a few people can return to their hometowns as they wish, and most people only want to be tired and lonely for a while, and as a result, they die in the trap of trapping. But now, these big families of Puzo, they are not facing a king, a local government of the traditional era, but an inhuman giant. They also lacked the concepts and organization to adapt to this change. Deep down, Michael still turned to his father for help, such a "charismatic" figure, and outside the legal world, a dozen Toms could be caught everywhere. "Military divisions" like Hagen worked their lives for the civil service group and did not deal with you. This is very troublesome, no matter how you look at it, it is not a good rhythm. Puzo must have thought so too, but he didn't know how to die, so he came up with a nonsense "Godfather 3", so strange that I couldn't complain. I am reminded of what Flint said at the end of "Black Sails": All this will be for nothing. We will have been for nothing. Defined by their histories, distorted to fit in their narrative until all that is left of us are the monsters in the stories they tell their children... (It will all be in vain, all we do will be in vain. Defined by the histories they write, twisted by their narratives, until the traces we leave, only It's a monster from a children's story...) The first time I read this passage I almost cried. How many efforts are made to not be defined by "them", to break the cage of "their" words, to find a kind of freedom and glory, a freedom that is not given but won. However, in the end, it is still defined by "them", submerged in the ocean of "others", twisted, and "corrected" at the same time. The same goes for Corleone. If this story is the prototype of any family (I haven't read the book), then for them, the so-called "rectification" is such a full-fledged, thrilling and gripping film industry, the "Godfather Series", which made it. Classic, making the bleak dying scene of the second-generation godfather a symbol of sentimental sentiment, producing a fatalistic tragic echo. This, too, is defined. Defined by those who seem to care. distorted to fit in their narrative until all that is left of us are the monsters in the stories they tell their children... (It will all be in vain, all we do will be in vain. Defined by the history they write , distorted by their narratives until the traces we left were mere monsters from children's stories...) I almost cried when I first read this passage. How many efforts are made to not be defined by "them", to break the cage of "their" words, to find a kind of freedom and glory, a freedom that is not given but won. However, in the end, it is still defined by "them", submerged in the ocean of "others", twisted, and "corrected" at the same time. The same goes for Corleone. If this story is the prototype of any family (I haven't read the book), then for them, the so-called "rectification" is such a full-fledged, thrilling and gripping film industry, the "Godfather Series", which made it. Classic, making the bleak dying scene of the second-generation godfather a symbol of sentimental sentiment, producing a fatalistic tragic echo. This, too, is defined. Defined by those who seem to care. distorted to fit in their narrative until all that is left of us are the monsters in the stories they tell their children... (It will all be in vain, all we do will be in vain. Defined by the history they write , distorted by their narratives until the traces we left were mere monsters from children's stories...) I almost cried when I first read this passage. How many efforts are made to not be defined by "them", to break the cage of "their" words, to find a kind of freedom and glory, a freedom that is not given but won. However, in the end, it is still defined by "them", submerged in the ocean of "others", twisted, and "corrected" at the same time. The same goes for Corleone. If this story is the prototype of any family (I haven't read the book), then for them, the so-called "rectification" is such a full-fledged, thrilling and gripping film industry, the "Godfather Series", which made it. Classic, making the bleak dying scene of the second-generation godfather a symbol of sentimental sentiment, producing a fatalistic tragic echo. This, too, is defined. Defined by those who seem to care.
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